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CATALOGUE   OF   ARRETINE   POTTERY 


/ 


MUSEUM  OF  FINE  ARTS,  BOSTON 


CATALOGUE 


OF 


ARRETINE   POTTERY 


BY 


GEORGE   H.  CHASE,  Ph.D. 

John  E.  Hudson  Professor  of  A  rchceology  in 
Harvard  University 


BOSTON    AND    NEW  YORK 

HOUGHTON   MIFFLIN   COMPANY 

The  Riverside  Press  Cambridge 

1916 


COPYRIGHT,    1916,    BY    BOSTON   MUSEUM    OF    FINE    ARTS 


ALL   RIGHTS   RESERVED 


^IW 


PREFACE 

The  pressed  clay  bowls  with  red  glaze  made  at  Arretium  (modern  Arezzo) 
and  therefore  known  as  Arretine  ware,  are  of  interest  primarily  because 
they  reproduce  designs  from  the  charming  repousse  silver  bowls  of  Hellen- 
istic workmanship.  As  they  have  attracted  the  attention  of  collectors  only 
in  comparatively  recent  years,  it  has  been  possible  for  this  Museum  to 
secure  an  unusually  fine  series  of  bowls,  moulds,  and  fragments.  The 
history  of  the  collection  is  briefly  told.  In  1888  a  series  of  ten  bowls  and 
sixteen  fragments  was  included  in  a  purchase  from  Signor  Lanciani, 
whose  notes  indicate  a  quick  appreciation  for  their  peculiar  beauty.  In 
1900  and  1913  a  few  pieces  came  by  gift;  the  foundation  of  the  collection, 
however,  was  laid  in  1898  by  the  purchase  of  sixty-nine  pieces  from 
the  collector  to  whom  the  excellence  of  the  Museum's  classical  collection 
is  so  largely  due.  Nineteen  pieces  were  purchased  in  1904,  ten  in  1913, 
and  one  or  two  each  year  in  1897,  1900,  1901,  1903,  and  1910,  all  from 
the  same  source. 

The  collection  thus  formed  has  not  been  unknown  to  scholars.  As  addi- 
tions have  been  made  they  have  been  described  in  the  annual  reports  of 
the  curator  of  classical  art  from  1895  on.  Casts  have  been  placed  on 
sale,  some  of  which  are  described  by  F.  Behn  in  a  catalogue  of  the  Mainz 
Museum,^  which  gives  a  survey  of  the  development  of  Roman  pottery. 

For  the  following  catalogue  of  the  Boston  collection  the  Museum  has 
been  most  fortunate  in  securing  the  services  of  Professor  George  H.  Chase, 
whose  catalogue  of  the  Loeb  Collection  of  Arretine  Ware  ^  has  been  an 
epoch-making  work  in  this  field.  For  the  convenience  of  students  the 
introduction  has  been  revised  and  reprinted  from  that  work. 

The  Museum  further  is  deeply  indebted  to  Mr.  James  Loeb  for  the 
generous  gift  which  has  made  it  possible  to  print  the  volume  at  the  present 
time.  It  is  but  one  more  example  of  the  devoted  interest  in  the  remains  of 
classical  antiquity  and  their  lesson  for  our  age,  on  the  part  of  this  scholar 
and  patron  of  scholarship. 

'  Fr.  Behn,  Romische  Keramik  mit  Einschluss  der  hellenistischen  Vurstufen,  Maiaz,  1910.  Kata- 
loge  des  rom.-germanischen  Central-Museums  zu  Mainz,  Nr.  2,  pp.  223-227,  numbers  1483-1497, 
1501-1507. 

'  The  Loeb  Collection  of  Arretine  Pottery,  catalogued  with  introduction  and  descriptive  notes,  by 
George  H.  Chase,  New  York,  1908. 

Arthur  Fairbanks 

August,  1916 


AUTHOE'S  NOTE 

In  its  main  lines  this  Catalogue  follows  the  plan  adopted  for  The  Loeh 
Collection  of  Arretine  Pottery.  The  Introduction,  especially,  represents  a 
reworking  of  the  corresponding  section  of  the  earlier  book.  Some  parts 
have  been  reprinted  without  change;  others  have  been  largely  modified 
to  adapt  them  to  their  new  purpose;  and  throughout  many  slight  changes 
have  been  made  in  the  endeavor  to  incorporate  the  results  of  recent  ex- 
cavations or  of  studies  published  since  1908.  Some  changes,  also,  are  due 
to  helpful  suggestions  made  by  reviewers  of  the  Loeb  Collection,  to  whom 
I  gratefully  acknowledge  my  indebtedness. 

In  the  Catalogue  proper,  I  have  again  attempted  an  arrangement  of 
the  material  by  classes  and  subjects,  since  this  seems  to  me  the  most  help- 
ful arrangement.  With  very  few  exceptions,  I  have  not  given  facsimiles  of 
the  inscriptions,  since  most  of  them  conform  to  well-known  types,  and  in 
cases  where  the  letters  do  not  appear  or  are  not  clear  in  the  plates,  refer- 
ence to  the  Corpus  Inscriptionum  Latinarum  (C.  I.  L.)  will  show  the  exact 
form.  For  a  number  of  common  patterns  I  have  employed  the  conven- 
tional names  which  were  used  in  the  Loeb  Collection,  as  follows:  — 

'^^/^■^ft^-a  conventional  laurel  leaf  pattern  (cf.  Plate  III,  no.  1). 

-^°=°^ — ^  calyx  ornament  (cf.  Plate  XXVIII,  no.  123). 

(3SSS®»£==—  pointed  staff  with  spirals  (cf.  Plate  XXVIII,  no.  122). 

mMMWwsf^  pointed  staff  with  rings  (cf.  Plate  II,  no.  33). 

Moulds  and  fragments  of  moulds  have  been  described  from  casts,  and 
the  plates  devoted  to  such  moulds  and  fragments  have  been  made  from 
photographs  of  casts.  Vases  and  fragments  of  vases  have  been  described 
and  photographed  directly.  In  Plates  I  and  II  an  attempt  has  been  made 
to  reproduce  three  almost  complete  vases  as  nearly  as  possible  in  the  color 
of  the  originals.  Plates  III-XXVIII  are  devoted  to  moulds  and  frag- 
ments of  moulds,  Plates  XXIX  and  XXX  to  fragments  of  vases. 

The  preparation  of  the  book  has  been  greatly  facilitated  by  the  gener- 
ous cooperation  of  many  members  of  the  staff  of  the  Museum,  to  whom 
I  wish  here  to  express  my  thanks.  I  am  under  special  obligation  to  Dr. 
Caskey,  who  spent  many  hours  in  discussing  with  me  the  problems  that 
arose  from  time  to  time  and  in  reading  the  entire  book  in  manuscript. 

George  Henry  Chase 


CONTENTS 

Preface     v 

Author's  Note vii 

ABBRE\aATIONS xi 

Introduction 1 

Catalogue 28 

Class  I .  28 

a.  Single  figures  of  divinities  (Apollo,  Artemis,  Leto,  Nike),  sometimes  combined 
with  other  figures  (Nos.  1-6) 28 

b.  Birth  of  Dionysus  (Nos.  7,  8) 35 

c.  Heracles  and  Omphale  (Nos.  9,  10) 38 

d.  Nereids  with  the  weapons  of  Achilles  (Nos.  11,  12) 40 

e.  Dancing  satyrs  and  mtenads  (Nos.  13,  14) 41 

/.  Satyrs  dancing  and  drinking  (Nos.  15-19) 42 

g.  SatjT  sacrificing  a  bull  (No.  20) 45 

h.  Satyrs  gathering  grapes  and  treading  them  out  (Nos.  21-25)  .         .         .45 

i.  Winged  genii  (Nos.  26-30) 49 

j.  Kalathiskos  dancers  (Nos.  31-33)  53 

k.  Symposia  (Nos.  34-59) 57 

I.  Miscellaneous  figure  subjects  (Nos.  60-65) 68 

Class  II 72 

a.  Death  of  Phaethon  (No.  66) 72 

b.  Dancers  (Nos.  67-75) 74 

c.  Hunting  scenes  (Nos.  76-81) 79 

d.  Chariot  scenes  (Nos.  82-87) 83 

e.  Cupids  with  festoons  (Nos.  88-90) 86 

/.  Miscellaneous  figure  subjects  (Nos.  91-96) 88 

g.  Animals  (Nos.  97,  98) 91 

h.  Statuettes  (Nos.  99-101) 92 

i.  Masks,  heads,  bucrania,  pairs  of  animals,  etc.  (Nos.  102-114)    .        .         .93 

j.  Naturalistic  plant  forms  (Nos.  115-121) 99 

k.  Conventionalized  plant  forms  and  other  conventional  patterns  (Nos.  122-134)  103 

Class  III 109 

Plain  vases  (Nos.  135,  136) 109 

Miscellaneous 110 

Handles  and  separately  modelled  reliefs  (Nos.  137-142)  .  ,  .  .110 
Stamp  or  puncheon  (No.  143) 112 


ABBREMATIONS 

The  titles  of  books  and  periodicals  are  abbreviated  as  follows:  — 

A.  J.  A.  American  Journal  of  Archoeology.  Baltimore,  etc.,  1885-. 

Ann.  Annali  dell'  Institnto  di  Corris-pondenza  Arclieologica.   Rome,  1829-85. 

B.  C.  H.  Bulletin  de  Correspondance  Helleniquc.  Athens  and  Paris,  1877-. 

B.J.  Bonner  Jahrbiicher:  Jahrbiicher  des  Vereins  von  Altertumsfreunden  im  Rkeinlande. 
Bonn, 1842-. 

B.  M.  Cat.  R.  P.  British  Museum:  Catalogue  of  the  Roman  Pottery  in  the  Departments  of 
Antiquities.  By  H.  B.  Walters.   London,  1908. 

B.  S.  A.  Annual  of  the  British  School  at  Athens.  London,  1895-. 

Bull.  Bulletino  dell'  Instituio  di  C orris pondenza  Archeologica.  Rome,  1829-85. 

Bidl.  Comm.  Bulleiino  della  Co7nmissione  Archeologica  Comunale  di  Roma.  Rome,  1872-. 

Bull.  Met.  Mus.  Art.  Bulletin  of  the  Metropolitan  Museum  of  Art.   New  York,  1905-. 

C.  I.  L.  Corpus  Inscriptionum  Latinarum  consilio    et    audoritate  Academice  Litterarum 

Regiae  Borussicce  editum.  Berlin,  1863-. 

Fabroni.  Storia  degli  antichi  vasi  fittili  aretitii.  By  A.  Fabroni.   Arezzo,  1841. 

Gamurrini.  Le  iscrizicmi  degli  antichi  vasifittili  aretini.  By  G.  F.  Gamurrini.  Rome,  1859. 

Gaz.  Arch.  Gazette  Archeologique.  Paris,  1875-89. 

Holder.  Die  Formen  der  rdmi.schen  Thongefdsse  diesseits  und  jenseits  der  Alpen.    By  O. 
Holder.   Stuttgart,  1897. 

J.  H.  S.  Journal  of  Hellenic  Studies.  London,  1880-. 

Jahrb.  arch.  I.  Jahrbuch  des  kaiserlich  deutschen  archaologischen  Instituis.  Berlin,  1886-. 

Loeb.  Coll.  The  Loeb  Collection  of  Arretine  Pottery.  By  G.  H.  Chase.  New  York,  1908. 

Mon.  Monumenti  deW  Instituto  di  Corrispondenza  Archeologica.  Rome  and  Berlin,  1829-91. 

Mon.  Piut.  Fondation  Eugene  Piot :  Monuments  et  Memoires  publies  par  V Academic  des 
Inscriptions  et  Belles-Letires.  Paris,  1894-. 

Not.  Scav.  Notizie  degli  Scavi  di  antichita  communicate  alia  Reale  Accademia  dei  Lincei. 
Rome,  1876-. 

Rom.  Mitt.  Mitteilungen  des  kaiserlich  deutschen  archaologischen  Instituts,  Romische  Ab- 
ieilung.  Rome,  1886-. 

Roscher,  Lex.  d.  Myth.  Ausfiihrliches  Lexicon  der  griechischcn  und  romischen  Mylhologie. 

Edited  by  W.  H.  Roscher.   Leipzig,  1884-. 

von  Rohden-Winnefeld.  Architektonische  romische  Tonreliefs  der  Kaiserzeit.    By  H.  von 

Rohden  and  H.  Winnefeld.  2  vols.  Berlin  and  Stuttgart,  1911. 

Walters.  History  of  Ancient  Pottery,  Greek,  Etruscan,  and  Roman.    2  vols.    London, 
1905. 


A  CATALOGUE  OF  ARRETINE  POTTERY 


INTRODUCTION 

Arretine  pottery  takes  its  name  from  the  ancient  city  of  Arretium,  the 
modern  Arezzo,  situated  in  the  upper  valley  of  the  Arno,  in  Tuscany, 
some  fifty  miles  southeast  of  Florence.  Founded  by  the  Etruscans  and 
later  conquered  and  colonized  by  the  Romans,  Arretium  was  for  many 
centuries  one  of  the  most  important  cities  of  central  Italy.  Its  prosperity 
depended,  evidently,  on  the  fertility  of  the  surrounding  territory  and  on 
its  manufactures.  The  vines  and  the  wheat  of  Arretium  are  praised  by 
Pliny,  ^  and  evidence  of  extensive  manufactures  is  furnished  by  the  state- 
ment that  for  the  equipment  of  Scipio's  expedition  to  Africa  the  city  fur- 
nished "3000  shields,  an  equal  number  of  helmets,  also  javelins,  pikes, 
and  long  spears  to  the  number  of  50,000,  axes,  spades,  hooks,  buckets,  and 
mills,  enough  for  forty  galleys,"  as  well  as  wheat  and  a  contribution  of 
money  for  the  decurions  and  the  rowers.^ 

For  an  extensive  production  of  vases  we  have  no  evidence  from  the 
earlier  period  of  the  city.  The  Etruscan  tombs  of  the  ancient  necropolis 
have  yielded  specimens  of  the  ordinary  Etruscan  black  ware  (bucchero), 
as  well  as  imported  Greek  vases,  but  these  do  not  differ  essentially  from 
the  vases  found  on  other  Etruscan  sites. ^  The  fact  that  early  bronze  coins 
found  at  Arezzo  have  a  vase  as  the  type  on  the  reverse  has  sometimes 
been  urged  as  a  proof  of  the  early  importance  of  the  vase-maker's  art, 
but  the  argument  is  of  very  doubtful  value. ^  The  vases  to  which  the 
name  "Arretine"  is  given,  at  all  events,  belong  distinctly  to  the  Roman 
period.*  They  are  mentioned  by  Roman  writers  of  the  first  century  after 
Christ  and  later  in  such  a  way  as  to  imply  that  they  formed  a  well-recog- 

»  Pliny,  N.  II.,  14,  3C  and  18,  87.  '  Livy,  28,  45. 

'  Cf.  Dennis,  Cities  and  Cemeteries  of  Etruria,  li',  pp.  384-389. 

*  Cf.  Ganiurrini,  p.  9;  Marchi  and  Tessieri,  L'Aes  grave  del   Museo  Kircheriano,  Classe  iii, 
pis.  V  and  vi. 

'  Cf.  pp.  22  ff.  for  a  discussion  of  tlic  date  of  the  Arretine  ware. 

[    1    ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

nized  class  among  Roman  ceramic  products  and  were  largely  exported, 
and  although  it  is  probable  that  the  name  "Arretine"  was  gradually  ex- 
tended to  include  similar  vases  made  elsewhere,  such  a  use  of  terms  could 
not  have  arisen  unless  the  vases  of  Arretium  had  come  to  be  well  known 
and  universally  recognized.  The  most  important  passages  in  regard  to 
them  are  found  in  the  Naturalis  Historia  of  Pliny  and  the  Etymologioe 
of  Isidorus  of  Seville,  an  encyclopaedic  work  of  the  seventh  century,  based 
upon  the  statements  of  earlier  writers.  Pliny's  statement  is:  "The  major- 
ity of  mankind  use  earthenware  vessels.  Samian  ware  is  well  spoken  of 
even  at  the  present  day  for  dinner  services.  This  reputation  is  kept  up 
also  by  Arretium  in  Italy,  and  for  drinking  cups  only  by  Surrentum, 
Hasta,  Pollentia,  Saguntum  in  Spain,  and  Pergamum  in  Asia.  Tralles 
also  is  a  centre  for  pottery,  and  Mutina  in  Italy."  ^  Isidorus  informs  us 
that  "Arretine  vases  are  so  called  from  Arretium,  a  town  in  Italy,  where 
they  are  made;  for  they  are  red.  It  is  these  of  which  Sedulius  speaks  when 
he  says :  — 

'The  red  pot  serves  the  greens  that  are  set  before  us.'"^ 

More  interesting  are  two  passage?  in  Martial,  in  which  we  see  reflected 
the  Roman  taste  of  the  first  century.  In  one,  the  poet  mocks  at  the 
plagiarist  Fidentius,  in  whose  book  of  epigrams,  he  says,  there  is  only 
one  original  page,  but  that  so  bad  that  it  is  clearly  stamped  as  the  writer's 
own.  "Just  so  a  Gallic  cloak,  among  the  purple  robes  of  the  city,  stains 
them  with  grease  and  filth;  so  the  clay  vases  of  Arretium  spoil  the  efiFect 
of  crystal  cups;  so  the  black  crow,  when  he  chances  to  stray  on  the  banks  of 
the  Cayster,  is  laughed  to  scorn  among  the  swans  of  Leda;  so  when  the 
sacred  grove  resounds  with  the  varied  notes  of  the  tuneful  nightingale, 

>  Pliny,  N.  n.,35, 160/. :  Maior  pars  hominum  terrenis  utitur  vasis.  Samia  etiam  nunc  in  esculen- 
tis  laudantur.  Retinent  banc  nobilitatem  et  Arretium  in  Italia,  et  calicum  tantum  Surrentum, 
Hasta,  Pollentia,  in  Hispania  Saguntum,  in  Asia  Pergamum.  Habent  et  Trallis  ibi  opera  sua  et 
in  Italia  Mutina. 

'  Isidorus,  Etym.,  20,  4,  5:  Aretina  vasa,  ex  Aretio  municipio  Italise  dicuntur,  ubi  fiunt;  sunt 
enim  rubra.  De  quibus  Sedulius:  — 

Rubra  quod  appositum  testa  ministrat  olus. 

The  poet  Cselius  Sedulius  wrote  about  494  a.d.  It  may  be  doubted  whether  Isidorus  is  right  in 
referring  the  "rubra  testa"  of  Sedulius  specifically  to  Arretine  ware,  and  his  present  tenses  are 
doubtless  taken  from  the  author  he  was  excerpting  (perhaps  Pliny  himself).  They  cannot  be  taken 
to  mean  that  the  potters  of  Arretium  were  active  as  late  as  the  seventh  century. 

[2] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

the  wretched  magpie  mars  her  Attic  plaints."  ^  Modern  admirers  of  the 
products  of  the  Arretine  potteries  have  tried  to  extract  a  compHment  from 
these  Hnes,  but  with  httle  success.  To  the  wealthy  Romans  of  the  first 
century  the  clay  vases  of  Arretium  could  hardly  be  expected  to  appeal. 
Nevertheless,  in  another  epigram,  Martial  warns  his  contemporaries 
against  too  low  an  estimate  of  these  humble  vessels:  "We  warn  you  not  to 
look  with  too  much  contempt  on  the  Arretine  vases.  Porsena  was  fine 
with  his  Etruscan  earthenware."  - 

Another  interesting  epigram,  which  is  sometimes  attributed  to  Virgil, 
though  it  undoubtedly  was  written  by  a  later  poet,  takes  the  form  of  an 
address  to  an  Arretine  cup  that  had  been  used  for  taking  medicine.  It 
runs:  "Arretine  cup,  once  the  glory  of  my  father's  table,  how  sound  you 
were  before  the  doctor's  hand."  ^ 

From  all  this  it  is  clear  that  the  red  ware  of  Arretium,  although  it  was 
considered  inferior  to  the  vessels  of  gold  and  silver  and  precious  stones 
in  which  the  Romans  of  the  Empire  delighted,  enjoyed  a  considerable 


>  Martial,  Ep.,  1,  53. 
*  Martial,  Ep.,  14,98:- 


Arretina  nimis  ne  spernas  vasa  monemus: 
Lautus  erat  Tuscis  Porsena  fictilibus. 


'  Baehrens,  Poetcs  Latini  Minores,  iv,  no.  158:  — 

Arretine  calix,  mensis  decus  ante  paternis, 
Ante  manus  medici  quam  bene  sanus  eras. 

Two  other  passages  which  have  sometimes  been  brought  into  connection  with  the  vases  of 
Arretium  are  Persius,  i,  127-130,  and  Macrobius,  Saturnalia,  2,  4,  12.  In  the  former  passage,  the 
poet  describes  several  classes  of  persons  whom  he  does  not  wish  to  be  among  his  readers.  "I  don't 
want  the  low  fellow  who  loves  to  crack  a  joke  on  the  slippers  of  the  Greeks  and  is  equal  to  calling 
a  one-eyed  man  Old  One-Eye,  thinking  he  is  somebody  because  once,  as  aedile,  filled  with  the  pride 
of  provincial  office,  he  broke  short  half-pint  measures  at  Arretium  (fregerit  eminas  Areti  aedilis  ini- 
quas)."  It  is  clearly  stretching  a  point  to  find  here  any  reference  to  Arretine  wares  as  a  class.  Yet 
this  was  done  by  an  ancient  commentator,  who  informs  us  that  the  half-pint  pots  referred  to  are 
"small  vessels  from  the  town  of  Arretium,  where  'Arretine'  vases  are  made"  (minora  vasa  ex- 
Arctio,  ubi  fiunt  Aretina  vasa).  So,  too,  when  Persius  in  another  passage  (5,  182)  mentions  a  red 
pot  (rubrum  catinum),  the  commentator  remarks,  "rubrum  fictile,  quod  est  Arrctinum." 

The  passage  in  Macrobius  contains  a  story  to  the  effect  that  Augustus  was  wont  to  mock  at  the 
lax  and  effeminate  style  of  Mcecenas,  and  once,  in  concluding  a  letter,  addressed  him  with  all  the 
endearing  terms  that  were  usually  reserved  for  women,  calling  him  "silphium  of  Arretium,  pearl 
of  the  Tiller,  emerald  of  the  Cilnii,  jasj)er  of  the  potters,  beryl  of  Porsena,"  and  so  on  (lasar  Arrc- 
tinum, Tiberinum  margaritum,  Cilniorum  smaragde,  iaspi  figulorum,  berulle  Porsena).  The  edi- 
tors of  Macrobius  usually  adopt  a  conjecture  of  Jahn's  and  read  "Iguvinorum"  for  the  "figul- 
orum" of  the  manuscripts.  In  any  case  the  passage  is  of  no  great  value,  since  the  importance  of 
the  potters  of  Arretium  is  sufficiently  proved  without  it. 

[3  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

vogue  and  more  than  a  local  fame.  And  this  inference  is  confirmed  by  the 
discoveries  of  modern  times.  Arretine  vases  and  fragments  have  been 
found  in  many  widely  separated  parts  of  the  Roman  world,  in  most  cases, 
doubtless,  imported  and  sold  by  Roman  merchants,  in  others,  perhaps, 
carried  by  the  legionaries  in  their  campaigns  or  by  travellers.  As  the 
potters  often  signed  their  wares  and  Arretine  clay  and  glaze  are  fairly 
easy  to  distinguish,  the  products  of  the  Arretine  kilns  can  usually  be 
recognized  wherever  they  are  found,  and  the  list  of  such  finding  places 
is  one  of  the  best  proofs  of  the  popularity  of  the  Arretine  wares.  It  in- 
cludes not  only  Arezzo,  Rome,  Rimini,  Modena,  and  other  places  in 
Italy, ^  but  numerous  sites  in  Gallia  Narbonensis,  in  Spain,  and  in  Africa; 
and  sporadic  finds  have  been  made  in  the  Greek  islands  and  even  in  Asia 
Minor  and  Cyprus.  In  the  northern  provinces  of  the  Empire,  the  number 
of  finding-places  is  smaller,  owing  largely  to  the  fact  that  in  these  districts, 
soon  after  their  conquest  by  the  Romans,  an  important  local  industry  was 
developed  by  which  the  local  demand  was  supplied.  Nevertheless,  even 
here,  in  Germany  and  northern  Gaul,  and  even  in  Britain,  a  very  con- 
siderable number  of  vases  and  fragments  has  been  discovered  which  are 
shown  to  be  the  work  of  Arretine  potters. 

But  the  great  finding-place,  naturally  enough,  is  Arezzo  itself.  Both 
inside  the  modern  city  and  in  the  outlying  districts,  many  remains  of 
ancient  potteries  have  been  found,  containing  not  only  fragments  of  vases 
and  of  the  moulds  from  which  they  were  made,  but  also  in  some  cases  the 
vats  in  which  the  clay  was  purified,  the  wheels  on  which  the  vases  and 
the  moulds  were  throTVTi,  the  stamps  with  which  the  figures  were  pro- 
duced, and  other  implements  of  the  potter's  trade.  Tombs  also  have  oc- 
casionally yielded  fragments  of  vases.  The  earliest  record  of  such  dis- 
coveries goes  back  to  the  thirteenth  century.  In  a  manuscript  entitled 
Libro  della  Compositione  del  Mondo  written  by  a  certain  Ser  Ristoro  d'A- 
rezzo  and  dated  1282,  the  author  records  the  discovery  in  and  near 
Arezzo  of  fragments  of  vases  colored  black  and  red,  but  generally  red,  on 
which  were  represented  "all  sorts  of  plants  and  leaves  and  flowers,  and 

'  At  Pozzuoli,  not  only  fragments  of  vases,  but  also  moulds  with  the  signatures  of  Arretine 
potters  have  been  found  —  a  fact  which  suggests  that  some  of  the  Arretine  potteries  had  estab. 
lished  branches  at  Puteoli.  Cf.  Bull,  1875,  pp.  242  f.;  B.  J.,  xcvi,  1895,  pp.  54/. 

[4] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

all  sorts  of  animals,"  as  well  as  "figures  in  relief  —  some  thin  and  some  fat, 
some  laughing  and  some  crying,  living  and  dead,  old  and  young,  armed 
and  unarmed,"  and  so  on  for  nearly  a  page  of  antitheses.  "When  any  of 
these  fragments  come  into  the  hands  of  sculptors  or  artists  or  other  con- 
noisseurs," writes  Ser  Ristoro,  "they  consider  them  like  sacred  relics, 
marvelling  that  human  nature  could  rise  to  such  a  height  in  the  subtlety,  in 
the  workmanship,  and  the  form  of  those  vases,  and  in  their  colors  and 
their  figures  in  relief;  and  they  say  that  the  makers  were  divine  or  the 
vases  fell  from  heaven."  ^  The  entire  passage  is  interesting  as  an  example 
of  the  enthusiastic  admiration  for  the  relics  of  ancient  art  which  even  as 
early  as  the  thirteenth  century  was  beginning  to  make  itself  felt  through- 
out Italy.  Making  every  allowance  for  local  patriotism,  we  cannot  doubt 
that  these  earliest  discovered  examples  of  Arretine  pottery  produced  a 
profound  impression  on  the  contemporaries  of  Ser  Ristoro. 

That  fragments  of  vases  continued  to  be  found  during  the  century  that 
succeeded  the  writing  of  Ser  Ristoro's  Libro  is  showTi  by  a  brief  notice  in 
the  Cronaca  Fiorentina  of  Giovanni  Villani,  who  died  in  the  great  plague 
at  Florence  in  1348.  This  writer,  in  speaking  of  Arezzo,  mentions  the  red 
vases  with  reliefs  which  "it  seems  impossible  to  believe  were  made  by  hu- 
man hands,"  and  concludes  his  brief  account  with  the  statement  "they 
are  still  found."  ^  Of  discoveries  made  in  the  second  half  of  the  fifteenth 
century  we  have  two  interesting  accounts,  one  in  a  manuscript  written  by 
Marco  Attilio  Alessi,  now  in  the  Bibliotheca  Riccardiana  in  Florence,  the 
other  in  Vasari's  famous  Lives  of  the  Painters.  The  latter  account  refers 
to  a  somewhat  earlier  date  and  so  may  be  considered  first.  In  the  life  of 
his  great-grandfather  Lazzaro,  the  biographer  relates  that  his  grand- 
father, Giorgio  Vasari,  who  died  in  1484  at  the  age  of  sixty-eight,  main- 
tained until  the  end  of  his  life  the  antiquity  of  the  Arretine  vases;  that 
in  a  field  near  the  Ponte  delle  Carciarelle  (a  bridge  over  the  Castro,  dis- 
tant about  a  mile  from  Arezzo),  he  found  at  a  depth  of  three  cubits  three 
vaults  of  an  ancient  kiln,  four  complete  vases,  many  fragments,  and  near 

'  The  passage  is  quoted  in  full  by  Fahroni,  pp.  12  ff.  Cf.  also  Piguotli,  Storia  dclla  Toscana 
(Pisa,  1813),  I,  pp.  144^.;  Gori,  Dijesa  dcW  Alfabcto  Etrusco,  Prefaee,  p.  207;  Monaci,  Cresiomazia 
Italiana  del  Primi  Secoli,  pp.  360  jf. 

^  The  passage  occurs  in  book  i,  chapter  47  (in  the  edition  published  at  Milan  in  1802,  vol.  I, 
p.  72).  Cf.  Pignotti,  i,  p.  146;  Fabroni,  p.  10. 

[  5  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

them  some  of  the  clay  that  was  used  in  making  the  ware;  that  he  gave 
the  vases  to  Lorenzo  de'  Medici  (II  Magnifico)  during  a  visit  which  the 
Florentine  made  to  Arezzo,  and  that  it  was  this  gift  that  procured  for  the 
family  of  Vasari  the  favor  of  the  Medici.  Further,  Vasari  relates  that 
his  grandfather  made  successful  experiments  in  reproducing  the  ancient 
ware,  some  specimens  of  his  work  lasting  to  the  time  of  the  biographer/ 
Alessi's  account  also  refers  to  discoveries  near  the  Ponte  delle  Carciarelle. 
He  speaks  of  a  great  quantity  of  fragments  with  inscriptions  —  the  first 
known  record  of  the  inscriptions  that  occur  so  frequently  —  and  men- 
tions especially  one  great  find  made  in  1492  in  the  presence  of  Giovanni  de' 
Medici,  who  later  became  Pope  Leo  X.^  From  the  inscriptions  it  appeared 
that  the  proprietor  of  the  most  important  pottery  near  the  Ponte  delle 
Carciarelle  was  named  Calidius  Strigo,  a  fact  which  has  been  confirmed 
by  later  excavations.*  A  smaller  number  of  fragments  bore  the  name 
of  Domitius. 

From  the  sixteenth  and  seventeenth  centuries  we  have  no  record  of 
further  discoveries.  About  the  middle  of  the  eighteenth  century,  however, 
two  new  potteries  belonging  to  P.  Cornelius  and  C.  Cispius  were  dis- 
covered by  the  Arretine  Francesco  Rossi  at  Cincelli,  some  five  miles 
from  the  city;  and  later,  in  1779,  excavation  in  this  region  brought  to 
light  remains  of  a  potter's  wheel,  of  kilns,  vats,  and  utensils,  as  well  as 
fragments  of  vases  and  moulds.  These  passed  from  the  collection  of  Signor 
Rossi  into  the  Bacci  Collection,  and  ultimately  into  the  Museo  Pubblico 
at  Arezzo.  During  this  same  centurv',  the  writings  of  Gori,  who  published 
the  accounts  of  Ser  Ristoro  and  Alessi,  together  with  some  additional 
inscriptions  from  the  manuscript  record  of  Giacomo  Burali,  made  the 
earlier  discoveries  known  to  a  wide  circle  of  readers.*  Rossi  himself  planned 
to  publish  an  account  of  the  Arretine  fabrics  and  especially  of  the  results 
of  his  excavations,  and  although  the  promised  monograph  never  appeared, 
it  was  discovered  among  his  papers  after  his  death  and  used  by  several 

'  Vasari,  Vite  dei  Pittori,  n,  pp.  557  ff.  (in  the  edition  published  at  Florence  in  1878-85).  In 
the  translation  of  Rlrs.  Foster,  published  at  London  in  1895-1901,  the  passage  is  on  pp.  53  /.  of 
vol.  n.  Cf .  Fabroni,  pp.  18  /. 

*  Alessi's  account  was  fii-st  published  by  Gori  in  his  Inscriptiones  antiquw  Grcecm  et  Romance  in 
EiTurice  Urbihus  Exstantes  (Florence,  1734),  u,  p.  320.  Cf.  Pignotti,  I,  pp.  146  Jf.;  Fabroni,  pp. 
16-18. 

'  Cf.  U.  Pasqui,  Not.  Scat.,  1894,  pp.  121  /.  «  Cf.  supra,  note  2,  and  p.  5,  note  1. 

[6] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

later  WTiters.  Of  these  the  most  important  is  Inghirami,  whose  elaborate 
Moniimenti  Etnischi  o  di  Etrusco  Nome  contains  twelve  pages  and  a  colored 
engraved  plate  devoted  to  Arretine  ware.  The  plate  especially  is  interest- 
ing as  the  first  attempt  at  the  reproduction  of  Arretine  fragments.^ 

The  great  discoveries  of  vases  and  other  antiquities  at  Vulci  in  1829 
and  the  years  immediately  after  inspired  all  the  Italian  antiquaries  to  re- 
newed investigations.  At  the  same  time  the  establishment  of  the  Insti- 
tuto  di  Corrispondenza  Archeologica  at  Rome  gave  them  a  more  con- 
venient medium  for  the  publication  of  their  discoveries  than  they  had 
before  enjoyed.  The  numbers  of  the  Annali  and  the  Bulletino  delV  In- 
stituto,  which  began  to  be  published  in  1829  and  ceased  to  exist  in  1885, 
contain  many  brief  notices  of  new  finds  at  Arezzo.  Since  1885,  the  most 
important  accounts  have  appeared  in  the  Italian  Notizie  degli  Scavi, 
which  even  before  that  date  had  contained  occasional  notices.  In  recent 
years,  the  richest  finds  inside  the  city  limits  have  been  made  in  the  neigh- 
borhood of  the  modern  theatre  and  the  church  of  Santa  Maria  in  Gradi. 
The  most  important  finding-place  outside  the  walls  has  been  the  neigh- 
borhood of  Cincelli.  The  vases  and  fragments  that  have  been  discovered 
in  these  excavations  have  for  the  most  part  found  a  place  in  the  Museo 
Pubblico  at  Arezzo,  which  now  contains  the  largest  collection  of  this  class 
of  vases  in  the  world.  Others  have  passed  into  private  hands,  and  thence 
in  some  cases  have  been  sold  out  of  Italy,  to  become  parts  of  collections  in 
other  countries. 

The  methods  used  by  the  potters  of  Arretium,  as  they  have  been  re- 
vealed by  these  excavations,  do  not  differ  from  those  used  by  potters  in 
other  parts  of  the  Roman  world.  Like  most  of  their  contemporaries 
in  other  regions,  they  produced  no  painted  pottery,  but  confined  them- 
selves, so  far  as  they  decorated  their  vases  at  all,  to  decoration  in  relief. 
In  this  they  followed  the  traditions  of  the  later  Greek  ceramists,  who  as 
early  as  the  third  century  B.C.,  had  largely  abandoned  the  painted  deco- 
ration which  is  characteristic  of  all  the  finer  Greek  vases  of  earlier  cen- 
turies. The  reason  for  the  change  is  generally  held  to  be  the  increasing 
popularity,  after  the  time  of  Alexander,  of  metal  vases,  for  which  the 
clay  vases  with  decoration  in  relief  were  intended  to  serve  as  cheaper 

'  Inghirami,  Monumenti  Elruachi  o  di  Etrusco  Nome  (Fiesole,  1824),  vol.  v,  pp.  1-12;  pi.  i. 

[7] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

substitutes.  The  most  familiar  examples  of  such  late  Greek  wares  are  the 
so-called  "Megarian  bowls,"  vases  of  hemispherical  form,  usually  without 
handles  or  feet,  decorated  on  the  outside  with  reliefs,  which  were  some- 
times made  separately  and  attached  to  the  body  of  the  vase,  sometimes 
produced  along  with  the  body  from  a  single  mould  for  the  whole  vase.^ 
These  have  been  found  not  only  on  the  mainland  of  Greece  and  in  Italy, 
but  also  farther  eastward,  at  several  places  in  Asia  Minor  ^  and  in  south- 
ern Russia,^  and  it  is  clear  that  they  were  made  at  many  different  places. 
In  Italy,  the  most  important  class  of  relief  vases  consists  of  the  so-called 
"Calenian  phialse,"  shallow  vases  with  decoration  on  the  inside,  which 
were  manufactured  during  the  third  and  second  centuries,  B.C.,  at  Cales  in 
Campania  and  possibly  at  other  places.^  Another  group  is  formed  by  the 
so-called  "Italian  Megarian  bowls"  or  "vases  of  Popilius,"  which  appear 
to  have  been  made  in  Ocriculum  and  Mevania  in  southern  Umbria.^  In 
recent  years  it  has  commonly  been  held  that  the  change  from  painting  to 
relief  decoration  was  first  made  in  Asia  Minor,  where  the  literary  tradi- 
tion points  to  a  great  development  of  metal  vases  with  repousse  designs. 
However  this  may  be,  it  is  clear  that  the  custom  of  decorating  clay  vases 
with  reliefs  in  imitation  of  metal  prototypes  spread  rapidly  over  the 
Greek  world  and  was  taken  up  by  the  potters  of  Italy.  Technically  con- 
sidered, the  vases  of  Arretium  fall  into  three  classes:  — 

1.  Plain  vases,  simply  thrown  on  the  wheel,  glazed,  and  fired.  Handles 
were  sometimes  added,  and  on  the  bottom  of  the  vase,  inside,  was  usu- 
ally stamped  the  name  of  the  owner  of  the  factory,  or  that  of  the 
slave  who  made  the  vase,  or  both.    The  commonest  shapes  are  flat  plates 

'  Cf.  Benndorf,  Griechische  und  sizilische  Vasenbilder,  pp.  117  ff.,  pi.  ux-ixi;  Robert,  Home- 
rische  Becker,  50tes  Programm  zuni  Winckelmannsfeste  (Berlin,  1890),  pp.  1-96;  Walters,  i,  pp. 
499/. 

'  Cf.  Conze,  "  Kleinfunde  aus  Pergamon,"  Ahhandlungen  d.  Ic.  preiiss.  Akad.  d.  Wiss.,  1902,  pp. 
18  Jf.;  Zahn  iu  Wiegand  and  Schrader,  Priene  (Berlin,  1904),  pp.  401/.  At  Sardis  many  examples 
of  such  "Megarian  bowls"  have  been  found  by  the  American  excavators,  as  well  as  fragments  of 
vases  and  moulds. 

'  Cf.  Zahn,  "Hellenistische  Reliefgefasse  aus  Siidrussland,"  Jahrb.  arch.  I.,  xxui,  1908,  pp.  45-77; 
Minns,  Scythians  and  Greeks,  pp.  351-353. 

*  Cf.  Pagenstecher,  Die  calenische  Reliefkeramik  (Berlin,  1909);  Walters,  I,  pp.  502/. 

'  Cf.  Melanges  d'  Archiologie  et  d'llistoire,  ix,  1889,  pp.  288-298;  B.  J.,  xcvi,  1895,  pp.  37/.;  Rom. 
Mitt,  XII,  1897,  pp.  40-55;  ibid.,  xiii,  1898,  pp.  399-408;  Walters,  ii,  pp.  490  /.  There  are  three 
vases  of  this  class  in  the  Museum  of  Fine  Arts  (Reg.  95.59,  95.60,  and  99.542). 

[8] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

with  low  rims  and  small  cups  and  bowls  with  straight  or  slightly  curved 
sides.  ^ 

2.  Vases  with  applied  reliefs,  a  more  elaborate  type,  in  which  the  vase 
was  decorated  with  simple  reliefs,  modelled  sometimes  by  hand,  but  more 
commonly  by  the  use  of  moulds,  and  applied  to  the  vase  as  the  handles 
were  applied,  after  it  was  taken  from  the  wheel.  Vases  of  this  type,  also, 
frequently  have  signatures  stamped  on  the  inside.  The  shapes  are  the 
same  as  those  of  the  plain  vases. 

3.  Mould-made  vases  (in  modern  times  often  called  terra  sigillata),  by 
far  the  largest  and  most  important  category.  Here  the  process  of  manu- 
facture was  much  more  complicated  than  in  the  case  of  the  plain  vases 
and  the  vases  with  applied  reliefs.  The  potter  first  formed  on  the  wheel  a 
hollow  mould  of  clay,  giving  to  the  inside  the  form  and  the  dimensions 
which  he  had  in  mind  for  the  body  of  the  completed  vase.  Next,  by  means 
of  small  stamps  with  designs  in  relief,  he  impressed  in  the  inside  of  the 
mould,  while  it  was  still  soft,  the  figures  and  patterns  with  which  the  com- 
pleted vase  was  to  be  decorated.  These,  as  they  were  made  from  designs  in 
relief,  have  in  the  moulds  the  form  of  hollow  impressions.  From  such  a 
mould,  after  it  had  been  baked  hard  by  firing,  any  number  of  vases  could 
be  produced  by  simply  pressing  clay  into  the  mould,  glazing,  and  firing. 
In  general,  the  mould  seems  to  have  been  placed  on  the  wheel  to  receive 
its  lining  of  clay;  the  inside  of  a  moulded  vase  usually  shows  a  series  of 
shallow  grooves  at  regular  intervals,  marks  of  the  tool  by  which  the  in- 
terior was  worked  smooth  after  the  clay  had  been  pressed  into  the  hollows 
of  the  mould.  The  removal  of  the  shell  from  the  mould  presented  no  diffi- 
culty, for  the  contractility  of  clay  is  so  great  that  the  shell  would  shrink 
in  drying  so  that  it  could  easily  be  shaken  or  worked  out  of  the  mould. ^  The 
comparatively  low  relief  of  the  mould-made  vases  is  due  to  this  feature 
of  the  process  of  manufacture. 

In  some  cases,  the  vase  was  glazed  and  fired  precisely  as  it  came  from  the 
mould.    Usually,  however,  a  separately  modelled  foot  and  a  plain  rim 

'  The  most  important  forms  of  plain  Airetine  vases  are  sliown  in  DragendorfT's  plate  (B.  J., 
xcvi,  1895,  pi.  I,  nos.  1-8),  which  is  repuWished  in  B.  M.  Cat.  R.  P.  as  pi.  xli.  Cf.  also  Holder,  Die 
Formen  der  romischen  Thongefdsse  diesseits  und  jenxcits  der  Alpen,  Stuttgart,  1897. 

^  On  this  point  the  fragment  no.  5  of  the  Museum  collection,  wliich  was  made  from  the  mould 
no.  1,  presents  interesting  evidence.  This  is  discussed  in  the  note  on  no.  5. 

[  9  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

with  simple  mouldings  at  the  top  were  attached  to  the  shell.  Handles, 
also,  and  plastic  ornaments  like  those  of  the  plain  vases  and  the  vases 
with  separately  modelled  reliefs  were  frequently  added,  although  one  strik- 
ing characteristic  of  the  Arretine  vases,  and  indeed  of  Roman  pottery  in 
general,  is  the  comparative  lack  of  handles,  probably  due  to  the  fact  that 
vases  without  handles  could  be  packed  for  export  with  greater  security. 
The  forms  that  resulted  ^  are  best  described  as  bowls,  though  they  prob- 
ably served  a  variety  of  uses.  Many  were  no  doubt  used  for  drinking-ves- 
sels.  Some  of  the  smaller  moulds  could  be  used  to  make  cups  as  well  as 
bowls,  the  distinction  depending  largely  on  the  sort  of  handles  that  were 
attached  to  the  shells.  The  high  rim  that  is  sometimes  added  to  a  shell 
from  a  large  mould  suggests  that  the  vase  was  used  as  a  mixing  bowl, 
though  these  examples  are  much  smaller  than  the  majority  of  Greek 
craters.  Small  cups,  sometimes  with  a  spreading  lip,  are  represented  both 
in  moulds  and  in  vases.  ^  Two  of  the  moulds  in  the  collection  (nos.  22  and 
68)  were  apparently  for  making  covers  of  considerable  size.* 

In  the  case  of  the  most  carefully  made  vases,  there  is  some  evidence 
that  the  potter  went  over  the  surface  of  the  shell  before  it  was  fired  with  a 
pointed  instrument,  sharpening  details  that  had  been  blurred  in  the  pro- 
cess of  moulding,  adding  bits  of  patterns,  and  in  general  "retouching"  the 
whole.  The  practice  is  one  that  is  familiar  in  the  work  of  the  makers  of 
terra-cotta  figurines,  to  whose  methods  the  methods  of  the  Roman  potters 
present  a  number  of  interesting  similarities. 

The  stamps  which  were  used  by  the  Arretine  potters  were  probably 
of  different  materials,  wood,  metal,  and  clay.  Those  that  have  been 
found  are  all  of  clay,  and  some  are  very  well  preserved.  In  the  Museum 
collection  is  a  stamp  with  a  design  for  a  crescent-shaped  pattern  (no.  143, 
fig.  1),  which  actually  appears  on  one  of  the  moulds  of  the  Loeb  Collec- 
tion.^ The  British  Museum  possesses  an  admirable  stamp  with  a  figure  of 
Spring,^    and  another  not  so  fine  with  the  figure  of  a  slave  tending  a  pot 

»  Cf.  B.  J.,  xcvi,  1895,  pi.  I  (=  B.  M.  Cat.  R.  P.,  pi.  xli),  nos.  9-14. 
'  Cf.  nos.  33,  C9,  112,  117,  and  B.  M.  Cat.  R.  P.,  nos.  L  95  and  L  107. 

'  There  is  a  similar  mould  in  the  Metropolitan  Museum,  New  York;  cf .  Bull.  Met.  Mus.  Art,  iv, 
1909,  p.  125,  fig.  2. 

*  Cf.  Loeb  Coll.,  no.  160,  pi.  xv. 

'  No.  L  91 ,  publ.  in  Walters,  u,  pi.  ucvi,  no.  2. 

[10] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

set  over  a  fire.^  Another  excellent  example,  a  stamp  for  producing  a  tragic 

mask,  is  published  by  Fabroni.^  All  these,  and  other  Roman  stamps  from 

the  provinces,^  show  that  the  stamp  was  regularly  provided  with  a  handle 

and  slightly  curved  on  the  face,  so  as 

to  follow  the  curvature  of  the  mould. 

The  number  of  stamps  necessary  to 

produce  the  variety  which  is  apparent 

in  the  vases  seems  at  first  sight  to  be 

very  great,  but  a  closer  study  of  any 

considerable  collection  of  vases  and 

moulds  shows  that  the  number  was 

,  11        ii  •.  .   n      ,.  Fig-  1-   Clay  Stamp  (no.  143). 

much  smaller  than  it  appears  at  nrst. 

Nothing,  in  fact,  is  more  interesting  than  the  way  in  which  the  potter,  with 
a  comparatively  small  number  of  stamps,  succeeded  by  different  combina- 
tions in  producing  very  difiFerent  effects.  The  best  examples  are  found  in 
vases  with  purely  conventional  decoration,  such  as  nos.  102-105,  115, 116. 
In  no.  115,  for  example,  almost  the  whole  of  the  rather  complicated  festoon 
which  forms  the  principal  decoration  was  produced  with  one  small  stamp. 
This  was  impressed  in  the  mould  eleven  times,  in  such  a  w'ay  as  to  leave 
small  spaces  between  the  different  sections;  these  spaces  were  then  filled 
with  small  figures  of  bees  and  birds,  for  which  the  potter  employed  only 
five  stamps,  two  with  different  types  of  bees  and  three  with  different 
types  of  birds;  above  and  below  the  main  design,  figures  of  Cupids,  birds, 
bees,  and  lizards  were  then  added,  and  here  too  the  same  stamp  was  used 
a  number  of  times  for  each  of  the  types.  The  result  is  a  design  of  very 
considerable  variety.  In  the  figure  compositions,  also,  though  the  same 
figures  recur  frequently,  and  sometimes  are  arranged  in  the  same  way, 
so  as  to  form  exact  replicas,*  by  slight  changes  in  order  or  in  the  attri- 
butes, or  by  the  use  of  different  decorative  patterns,  the  potters  produced 
very  varied  effects.*  Moreover,  for  many  of  the  larger  figures,  separate 
small  stamps  were  used  not  only  for  attributes,  but  even  for  parts  of  the 
body,  so  that  by  the  use  of  a  different  stamp  for  a  head  or  an  arm  or  a 
wing,  or  even  by  a  different  placing  of  the  same  stamp,  the  potter  could 

>  No.  L  92,  publ.  B.  M.  Cat.  R.  P.,  p.  27,  fig.  20.      ^  PI.  v,  4.      »  Cf.  Walters,  n,  pp.  439,  440. 
*  Cf.  nos.  7  and  8,  15  and  16.  '  Cf.  nos.  34  and  35,  40  and  41,  67-72. 

[   11    ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

greatly  change  the  appearance  of  his  figure.^  Here  again  we  are  reminded 
of  the  methods  of  the  makers  of  terra-cotta  figurines.  Another  interesting 
point,  which  also  shows  the  labor-saving  devices  of  the  potters,  is  raised 
by  the  existence  of  exactly  similar  figures  of  slightly  different  dimensions.* 
It  seems  probable  that  the  smaller  figures  in  such  cases  are  due  to  the 
use  of  stamps  obtained  by  taking  impressions  from  completed  moulds,  or 
perhaps  by  making  a  matrix  and  then  a  new  stamp  from  an  old  stamp 
or  even  from  a  completed  vase,  although  the  last  two  processes  would 
be  more  time-consuming  and  would  produce  less  satisfactory  results. 
The  shrinkage  of  the  clay  in  baking  affords  an  easy  explanation  of  the 
slightly  smaller  size  of  the  new  stamps. 

The  moulds  are  made  of  a  fine  yellow  clay,  which  sometimes  has  a  pink 
color  in  fractures.  They  range  in  size  from  moulds  for  very  small  cups  to 
moulds  for  bowls  measuring  six  inches  and  more  in  diameter.  They  are 
usually  provided  with  a  low  foot  to  make  them  stand  firmly  on  the  wheel, 
and  with  a  rim  at  the  top  for  convenience  in  handling.  Two  views  of  an 
unbroken  mould  in  the  Boston  collection  (fig.  2)  show  their  appearance 
better  than  many  words.  In  impressing  the  stamps  in  the  mould,  the 
potter  first  divided  the  surface  horizontally  by  means  of  mouldings  and 
patterns  running  entirely  around  the  inside  of  the  mould;  the  common- 
est forms  are  simple  grooves  (which  come  out  as  convex  mouldings  in  the 
vase),  rows  of  bosses  and  rosettes,  bands  of  egg  and  dart,  and  similar 
patterns.  The  usual  scheme  consists  of  a  simple  moulding  near  the  bottom 
of  the  mould,  a  row  of  bosses  or  rosettes  or  a  simple  moulding  higher  up, 
which  sets  off  a  small  field  for  decoration  around  the  bottom,  and  then 
near  the  top,  several  patterns  and  mouldings  close  together,  one  of  which 
is  usually  an  egg  and  dart.  It  has  often  been  thought  that  all  these  pat- 
terns were  produced  with  a  small  wheel  or  disc,  which  the  potter  pressed 
against  the  mould  as  it  turned  on  the  wheel,  and  in  the  case  of  the  simple 
mouldings,  the  lines  are  so  exact  that  this  seems  the  natural  explanation. 
In  the  case  of  the  patterns,  however,  the  frequent  irregularities  in  align- 
ment and  spacing  make  it  clear  that  they  were  usually  produced  by 
repeating  a  small  stamp  containing  only  a  small  bit  of  pattern  (a  single 

1  Cf.  the  Nike,  no.  1  (c),  with  the  similar  figure,  no.  3  (c) ;  and  the  two  huntsmen  of  nos.  78  and  79. 
«  Cf.  nos.  21  and  22,  68  and  09. 

I  12  ] 


m 


FIG.  2.     INTEHIUK    AND   EXTEKIOK  OK   MOILI)  uNU.    116) 


A  CATALOGUE  OF  ARRETINE  POTTERY 

boss,  a  rosette,  or  a  single  egg  and  dart).  The  numerous  cases  in  which  a 
row  of  bosses  appears  in  the  completed  vase  as  if  ranged  upon  a  convex 
moulding  show  that  a  slight  groove  was  often  impressed  in  the  mould  first, 
to  aid  the  workman  in  aligning  his  patterns  correctly.  After  the  fields 
for  decoration  had  been  marked  off  in  this  way,  the  principal  field  was 
usually  divided  into  a  definite  number  of  parts  (commonly  four),  by 
pillars,  staffs,  tripods,  trees,  floral  patterns,  or  conventional  designs.  Then 
between  these  the  figures  or  patterns  that  formed  the  principal  motives 
were  placed,  and  thus  a  symmetrical  arrangement  was  assured.  That  this 
was  the  method  employed,  that  the  decorative  patterns  and  the  divisional 
designs  were  impressed  first  in  the  mould,  is  shown  by  the  fact  that 
wherever  patterns  and  figures  overlap,  it  is  the  figures  which  are  on  top. 
The  modelling  of  the  stamps  and  the  arrangement  of  the  decoration  in 
the  mould  were  clearly  the  most  important  parts  of  the  process  of  mak- 
ing the  vase.  The  other  processes,  moulding  the  shell,  attaching  handles, 
rims,  and  feet,  glazing,  and  firing,  were  purely  mechanical.  Something, 
however,  should  be  said  about  the  brilliant  red  glaze  of  the  finished  vases, 
which  has  justly  excited  admiration  since  the  time  of  the  earliest  dis- 
coveries, and  to  which  the  brilliant,  coralline  effect  of  the  Arretine  wares 
is  due.  The  effect  appears  to  have  been  produced  by  the  use  of  a  sort  of 
varnish,  the  composition  of  which,  in  spite  of  modern  experiments,  remains 
obscure.  Dragendorff,  one  of  the  latest  investigators  to  publish  the  re- 
sults of  chemical  analyses,  comes  to  the  conclusion  that  the  red  color  is 
due  primarily  to  the  iron  oxide  which  is  inherent  in  the  composition  of 
the  clay,  and  that  the  substance  added  in  the  varnish  to  produce  the  bril- 
liant coralline  effect  was  of  an  alkaloid  nature.  In  a  series  of  experiments 
with  glazed  and  unglazed  fragments,  the  alkaloid  constituents  showed 
a  marked  increase  in  the  glazed  fragments,  while  the  proportion  of  iron 
oxide  and  other  elements  remained  constant.^  In  recent  years,  many  at- 
tempts have  been  made,  especially  in  Germany,  to  imitate  terra  sigillata, 
but  none  of  these  has  been  entirely  successful,  so  far  as  the  glaze  is  con- 
cerned.^   The  difficulty  of  the  problem  is  largely  due  to  the  thinness  of  the 

'  Cf.  B.  J.,  Xfvi,  1895,  pp.  19  Jf.  For  earlier  analyses,  cf .  Brongniarl,  TraiU  dcs  arts  ceramiqucs,  l', 
p. 421 ;  BllimiiiT,  Technologic  und  Termiiiologie der  Gewerbe  und Kiinste  bei  Grieclieri  und llumern,  n,  pp. 
91  jf.  The  results  which  they  report  are  similar  to  those  reported  by  Dragendorff,  but  less  definite. 

=  Cf.  Bartel,  "Terra  Sigillata,"  m  Toniiidmtriezeitung,  xxxiii,  1909,  pp.  C32-641. 

I  13  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

glaze,  which  makes  analysis  difficult.  It  is  so  fine  and  so  skilfully  applied 
that  it  does  not  in  the  least  obscure  the  outlines  and  the  details  of  the 
modelling,  but  rather  enhances  them.  Though  the  fine  red  color  is  so  char- 
acteristic of  the  Arretine  wares,  it  was  not  an  invention  of  the  Arretine 
potters.  Their  earliest  vases  have  a  black  surface,  and  red  glazed  pottery 
has  now  been  found  on  a  number  of  Greek  sites  under  circumstances  which 
prove  its  priority  to  the  products  of  Arretium.^  Among  the  "Megarian 
bowls,"  also,  although  the  prevailing  color  is  a  rather  poor  black,  there 
are  numerous  specimens  in  which  part  of  the  vase  is  red  and  the  effect 
seems  due  to  intention,  not  to  chance.  Indeed,  it  seems  clear  that  during 
the  third  century  b.c.  the  Greek  potters  were  constantly  trying  to  get 
away  from  their  traditional  black  varnish,  and  that  it  was  to  them  that 
the  change  from  black  to  red  surfaces  was  due.  This  feature  of  the 
Arretine  wares,  therefore,  was  another  technical  detail  which  the  potters 
adopted  from  their  Greek  predecessors. 

In  respect  to  the  decoration,  the  mould-made  vases  fall  into  two  classes.^ 
In  the  first,  which  includes  vases  especially  from  the  workshop  of  M. 
Perennius,  the  principal  decoration  regularly  consists  of  a  frieze  of  single 
figures  or  groups  of  figures,  several  of  which  are  frequently  produced 
from  the  same  stamp.  The  figures  are  always  of  the  same  height,  and  this 
isocephalism  is  one  of  the  marked  characteristics  of  the  class.  The 
ground  under  the  feet  of  the  figures  is  rarely  indicated,  and  filling  orna- 
ments are  rare.  The  frieze  is  frequently  divided  by  means  of  columns, 
hermae,  tripods,  pillars,  candelabra,  incense-burners,  or  thyrsuses  into 
small  fields,  in  which  the  single  figures  and  groups  are  placed,  and  these 
objects  are  sometimes  connected  by  garlands  or  festoons  which  pass 
behind  the  figures.  But  the  garlands  and  festoons  are  usually  of  a  con- 
ventional sort,  and  in  general  the  decorative  patterns  are  few  in  number 
and  simple  in  character.  The  favorite  subjects  are:  Dionysiac  scenes,  such 
as  dancing  maenads,  satyrs  dancing,  drinking,  gathering  grapes  and  tread- 
ing them  out,  and  the  birth  of  Dionysus;  Heracles  and  Omphale;  Nereids 
with  the  weapons  of  Achilles;  the  Muses;  the  Seasons;  Nike,  sometimes 

•  Cf.  Dragendorfl,  B.  J.,  xcvi,  1895,  pp.  35  /.;  Watzinger,  Ath.  Mitt.,  xxvi,  1901,  pp.  84  /.; 
Conze,  "  Die  Kleinfunde  aus  Pergamon,"  Abkandl.  d.  k.  preuss.  Akad.  d.  Wiss.,  1902,  pp.  22/. 
2  Cf.  Dragendorfl,  B.  J.,  xcvi,  1895,  pp.  55  jf. 

[    IM 


A  CATALOGUE  OF  ARRETINE  POTTERY 

sacrificing  a  bull;  winged  genii;  dancing  priestesses  with  a  peculiar  head- 
dress, the  so-called  " kalathiskos "  dancers;  and  banqueting  scenes,  usu- 
ally of  an  erotic  character. 

The  second  class  of  mould-made  vases  is  distinguished  from  the  first 
principally  by  a  much  greater  use  of  ornament.  In  these  vases,  as  a  rule,  the 
field  is  filled  with  floral  and  vegetable  patterns,  sometimes  convention- 
alized, like  the  patterns  of  Class  I,  but  usually  treated  with  great  natural- 
ness. Frequently  a  wreath  of  leaves,  naturalistically  modelled,  forms  the 
principal  decoration.  Other  favorite  motives  are  masks  and  bucrania  con- 
nected by  festoons  of  fruit  and  flowers,  with  birds  and  insects  hovering 
about  them.  Human  figures,  when  they  appear,  are  often  subordinated  to 
the  decoration,  frequently  appearing  as  small  statuettes;  and  when  they 
are  combined  to  form  definite  scenes,  the  treatment  is  very  different  from 
that  of  the  figures  of  the  first  class.  The  isocephalic  principle  is  given  up, 
the  ground  is  usually  indicated,  and  by  the  introduction  of  naturalistic 
trees  and  plants,  the  artist  tries  to  suggest  the  setting  of  the  scene.  The 
subjects  that  are  represented  in  this  class  are  more  varied  than  those  of 
Ckss  I,  and  therefore  less  easy  to  classify.  Among  the  commonest  are 
dancing  figures  and  hunting,  chariot,  and  battle  scenes,  which  only  rarely 
reproduce  a  common  type.  A  unique  mould  in  the  Boston  collection 
(no.  G6)  has  as  its  subject  the  death  of  Phaethon. 

This  division  of  the  mould-made  vases  into  two  classes,  according  to 
the  nature  of  their  decoration,  has  been  made  the  basis  of  the  present 
catalogue.  Class  I  and  Class  II  of  the  catalogue  correspond  to  the  two 
tj^pes  that  have  been  described  in  the  preceding  paragraphs.  Within 
each  of  these  larger  divisions,  the  attempt  has  been  made  to  carry  out 
a  classification  by  subjects  and  principal  decorative  motives.  Two  vases 
not  made  in  moulds  are  placed  together  as  "Class  III,  plain  vases";  and 
under  separate  headings  are  described  "handles  and  separately  modelled 
reliefs"  and  a  single  stamp.  A  tabular  view  of  this  scheme  of  classifica- 
tion and  the  subdivisions  of  Class  I  and  Class  II  is  given  in  the  Table  of 
Contents. 

After  the  decoration,  the  inscriptions  form  the  most  interesting  feature 
of  the  Arretine  vases.  In  a  few  instances,  these  have  reference  to  the 
characters  represented  on  the  vase,  following  the  custom  which  is  so  com- 

[  15  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

mon  in  the  work  of  the  Greek  vase  painters.'  But  such  cases  are  rare.  In 
general,  the  inscriptions  on  the  Arretine  vases  are  in  the  nature  of  signa- 
tures; they  record  the  name  of  the  proprietor  of  the  pottery  where  the 
vase  was  made,  or  that  of  the  slave  who  made  it,  or  both.  They  were  pro- 
duced by  means  of  stamps,  impressed  directly  on  the  vase  in  the  case  of 
the  plain  wares  and  the  vases  with  separately  modelled  reliefs,  impressed 
on  the  mould  in  mould-made  vases,  so  that  the  signatures  become,  in  a 
way,  a  part  of  the  decoration.  The  forms  which  the  stamps  assume  are 
very  varied.  The  commonest  types  are  rectangular  stamps  with  an  in- 
scription in  one  or  two  lines,  sometimes  with  a  simple  decorative  border, 
and  stamps  in  the  form  of  the  sole  of  a  foot  with  the  inscription  upon  it. 
Others  have  the  form  of  crosses,  crescents,  stars,  branches,  wreaths,  and 
other  objects.^  In  the  forms  of  the  names,  the  greatest  variety  prevails. 
The  name  of  the  owner  of  the  factory,  which  appears  most  frequently, 
is  sometimes  written  in  full,  with  prsenomen,  nomen,  and  cognomen  (the 
prsenomen  regularly  only  as  an  initial),  sometimes  one  or  another  of  these 
parts  is  omitted.  All  varieties  are  frequently  abbreviated,  or  even  re- 
duced to  simple  initials,  and  ligatures  in  which  two  letters  are  written 
together  are  very  common.  When  the  owner's  name  is  written  out,  it 
regularly  appears  in  the  genitive.  Thus  the  name  of  L.  Rasinius  Pisanus 
appears  in  the  forms:  L.  Rasini  Pisani,  L.  Rasini  Pisa,  L.  Rasin  Pisani, 
L.  Rasin  Pisa,  L.  Rasin  Pis,  L.  Ras  Pi,  L.  R.  Pis,  L.  R.  P.,  and  possibly 
in  the  forms  L.  Rasin,  Rasini,  Rasin.  Rassi,  Rasi,  Rasn,  Rass,  and  Ras, 
though  the  fact  that  at  least  one  other  potter  of  the  gens  Rasinia  is  known 
makes  it  impossible  to  tell  with  certainty  whether  these  last  signatures  are 
to  be  assigned  to  L.  Rasinius  Pisanus.^  The  slave's  name  is  sometimes 
written  above  or  below  the  name  of  the  proprietor  of  the  factory,  some- 
times it  app>ears  on  another  part  of  the  vase.  When  it  is  written  out,  it 
regularly  stands  in  the  nominative,  though  the  genitive  occasionally  is 
found.  So  on  vases  of  P.  Cornelius,  made  by  the  slave  Potus,  we  find  no 
less  than  four  combinations:  * 

'  Cf.  Not.  Scat.,  1884.  pi.  viii,  2;  B.  J.,  xcvi,  1895.  pp.  70/.,  and  en.  1898,  p.  116. 

'  Cf.  C.  /.  L.,  XV,  p.  703.  In  the  earliest  vases,  also,  stamps  with  simple  fabric  marks,  without 
inscriptions,  appear. 

'  Cf.  especially  C.  I.  L.,  xi,  6700,  519-551;  also  C.  /.  L.,  ii,  4970,  419  and  421;  x,  8056,  299  and 
8330.  3;  xn,  5686,  738;  xv.  5495  and  5496.  ♦  Cf.  C.  I.  L.,  xi,  6700.  243. 

[  16] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

POTUS      P.  CORN     POTI       P.  CORN 
P.  COR      POTUS      P.  CORN     POTI 

This  variety  in  the  order  of  the  names,  combined  with  the  many  abbre- 
viations, sometimes  leads  to  confusion.  In  such  a  signature,  for  instance, 
as  '^Km^j  it  is  possible  that  only  one  name  is  intended,  that  of  a  slave 
who  had  been  freed  and  become  master  of  a  pottery.  Such  cases  are  at- 
tested by  a  few  inscriptions,  such  as  C'MEMM'C'L'MAHE,  C.  Memm{i) 
C.  l{iberti)  Mahe{tis).^  It  is  to  be  noted,  however,  that  if  all  the  inscrip- 
tions in  which  the  slave's  name  follows  the  master's  are  interpreted  in 
this  way,  the  number  of  freedmen  becomes  much  larger  than  seems  natural, 
so  that  it  is  probable  that  in  most  of  these  forms,  as  in  the  common 
formula,  we  are  dealing  with  two  names. ^  In  some  cases,  the  addition  of 
an  S  {=servus)  after  the  slave's  name  makes  the  matter  absolutely  clear.* 
Other  interesting  variations  in  the  form  of  the  signature  are  the  occasional 
addition  of  figidiis  or  figulus  Arretinus,  or  Arretinus  *  alone,  and  signa- 
tures of  two  or  more  potters  or  firms  who  evidently  had  formed  a  part- 
nership.* 

The  earliest  attempt  to  treat  the  inscriptions  on  Arretine  vases  as  a 
whole,  to  determine  the  location  of  the  different  potteries,  and  to  draw 
up  lists  of  the  slaves  employed  in  each  was  made  by  Gamurrini  in  1859.® 
Since  that  time  the  number  of  inscriptions  has  greatly  increased  and 
much  new  light  has  been  thrown  on  the  location  of  the  potteries  and  their 
relations  to  one  another  by  excavations.  Most  of  the  inscriptions  are  now 
recorded  in  the  Corpus  Inscriptionum  Lalinarum,  those  from  Arezzo 
itself  in  volume  xi,  others  from  Arretine  vases  found  in  other  parts  of 
the  Roman  world  in  other  volumes.     On  the  basis  of  these  collections, 

»  Cf.  C.  I.  L.,  XI,  6700,  38G. 

'  Cf.  C.  I.  L.,  XV,  p.  702;  B.  J.,  xcvi,  1895,  p.  48,  and  cii,  1898,  p.  109. 

'  Cf.  C.  I.  L.,  XI,  6700,  727  and  737';  xv,  5676  (with  Dressel's  note)  and  5694.  The  addition  of 
F  ( =  fecit)  after  the  slave's  name,  which  occurs  on  fragments  fount]  at  Rome  and  elsewhere,  is 
not  surely  attested  for  Arretium,  although  the  unusual  inscri[)tion  "Venicius  fecit  h(a)ec"  occurs 
(cf.  C.  I.  L.,  XI,  0700,  752).  On  the  question  of  the  use  of  F  ( =Secit),  cf.  C.  I.  L.,  xv,  p.  703,  and 
B.  J.,  CII,  1898,  p.  126. 

*  Cf.  C.  I.  L.,  II,  4970,  519;  ix,  6082,  1;  x,  8056,  354;  xi,  6700,  688;  xv,  5649,  a-l.  The  addition 
of  OF  {=nffln>ia),  which  appears  on  a  number  of  Roman  vases,  does  not  seem  to  be  found  on 
genuine  Arretine  wares.   Cf.  C.  I.  L.,  xv,  p.  702,  and  /?.  J.,  cii,  1898,  p.  126. 

"  Cf.  C.  I.  L.,  XI,  6700,  311  and  795;  xv,  5748. 

'  Cf.  Gamurrini,  Le  iscrizioni  degli  antichi  vasi  fitlUi  aretini.   Rome,  1859. 

[  17] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Una  has  supplemented  the  work  of  Gamurrini,'  and  in  volume  xi  of  the 
Corpus  is  published  an  interesting  map  which  shows  the  sites  of  the 
different  potteries,  so  far  as  they  can  be  determined.^  The  list  which  fol- 
lows includes  the  names  of  the  potters  and  the  slaves  whose  signatures 
appear  on  the  vases  and  moulds  of  the  Museum  Collection.  The  slaves 
have  been  grouped,  as  far  as  possible,  under  the  masters  by  whom  they 
were  employed,  and  a  brief  statement  of  the  location  of  the  pottery  is 
added  in  each  case. 

M.  Perennius.  —  In  moulds  and  vases  of  M.  Perennius,  the  most  fa- 
mous of  the  potters  of  Arretium,  the  collection  is  especially  rich.  His 
name  is  found  no  less  than  twenty-three  times  (nos.  2,  10,  12,  21,  26,  29, 
32,  34,  35,  37,  40,  55,  66,  67,  69,  76,  77,  78,  81,  104,  111,  128,  133),  and 
many  of  the  unsigned  specimens,  to  judge  by  the  use  of  the  same  or  similar 
stamps,  are  undoubtedly  from  his  workshop.  In  ten  cases,  the  name  of 
Perennius  is  associated  with  some  form  of  the  signature  Tigrani  (nos. 
2,  21,  29,  32,  37,  40,  67,  69,  81,  111),  which  also  appears  alone  on  five 
fragments  (nos.  7,  8,  24,  31,  72).^  This  at  once  raises  the  difficult  question 
of  the  connection  between  the  two  forms,  which,  in  spite  of  considerable 
discussion,  still  remains  obscure.  The  facts  in  the  case  are  as  follows: 
With  various  forms  of  the  signature  of  Perennius,  there  frequently  are 
associated  the  forms  Tigran,  Tigra,  or  Tigr,  as  well  as  Tigrani.*  These 
are  usually  interpreted  as  a  slave's  name,  Tigranes,  although  the  form 
Tigrani  (which  must  be  a  genitive)  points  rather  to  a  nominative  Tigra- 
nus  or  Tigranius.  Further,  the  form  Tigrani  or  one  of  the  shorter  variants 
occurs  in  combination  with  several  names  of  slaves  which  elsewhere  are 
found  in  combination  with  different  forms  of  the  signature  M.  Perenni, 
and  in  one  case  we  find  Menophil(us)  M.  Peren(ni)  Tigrani.^  These 
combinations  are  commonly  taken  to  mean  that  the  slave  Tigranes  was 
later  liberated,  set  up  a  factory  of  his  own,  and  employed  some  of  the 
slaves  of  his  former  master.  But  it  must  be  admitted  that  a  much  simpler 
explanation  is  afforded  by  the  supposition  that  Perennius  and  the  sup- 
posed Tigranes  were  one  and  the  same  person,  that  is,  that  the  master  of 

'  Cf.  "Die  arretinischen  Topfereien,"  B.  J.,  cii,  1898,  pp.  106-126.     '  Ct.  C.  I.  L.,  xi,  p.  1082. 
'  The  letters  NI,  which  are  found  on  the  fragment  no.  16,  also,  are  very  surely  the  end  of 
PERENNI  or  TIGR.VNI. 

*  Cf.  C.  I.  L.,  XI,  6700,  450.  ^  cf.  C.  I.  L.,  xi,  6700,  453. 

[  18] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

the  factorj'^  was  called  M,  Percnnius  Tigranes  (or  better  Tigranus  or 
Tigranius),^  and  that  he  signed  his  products  now  with  one  form,  now  with 
another.  However  this  may  be,  the  vases  of  Perennius  are  certainly  the 
finest  products  of  the  Arretine  factories,  going  back,  in  most  cases,  to 
excellent  Greek  models,  and  reproducing  them  with  a  great  deal  of  taste. 
The  principal  workshop  of  Perennius  was  located  near  the  modern  church 
of  Santa  Maria  in  Gradi,^  and  he  also,  apparently,  possessed  a  branch  es- 
tablishment at  Cincelli.^  His  period  of  greatest  activity  is  commonly  held 
to  have  been  the  reign  of  Augustus.  Besides  the  doubtful  Tigranes,  the 
slaves  of  Perennius  whose  names  are  found  on  pieces  in  the  Museum 
collection  are  Bargates  (nos.  30,  60,  104,  128,  133),  Nicephorus  (nos. 
34,  35,  76),  and  Pilades  (no.  3).  Cerdo,  also,  should  probably  be  included 
in  this  list,  although  only  a  single  letter  of  his  name  has  survived  on  the 
fragment  no.  17. 

P.  Cornelius.  —  Next  to  Perennius  the  most  famous  of  the  Arretine 
potters  is  P.  Cornelius,  whose  name  is  found  three  times  on  the  specimens 
of  the  collection  (nos.  90,  91,  134).  Fragments  of  his  wares  have  been 
found  in  great  numbers  in  the  neighborhood  of  Cincelli,*  and  near  the 
so-called  Ponte  a  Buriano  not  far  from  Cincelli.^  He  flourished  at  a  later 
time  than  Perennius,  whose  factory  at  Cincelli  he  apparently  acquired, 
—  fragments  bearing  his  name  were  found  above  those  with  the  name  of 
Perennius,  —  as  well  as  the  factory  of  C.  Tellius  near  the  Ponte  a  Buriano, 
and  perhaps  that  of  C.  Cispius  at  Cincelli.^  The  list  of  slaves  employed  by 
Cornelius  is  longer  than  that  which  can  be  drawn  up  for  any  other  potter, 
including  some  forty  names,  but  of  these  only  two  appear  in  the  Boston 
collection,  namely,  Antiochus  (no.  113)  and  Primus  (no.  91).  The  lack  of 
examples  from  Cornelius's  workshop  is  regrettable  from  an  archaeological 
point  of  view,  but  artistically  the  products  of  this  potter  are  far  inferior, 
in  general,  to  those  of  Perennius. 

Rasinius.  —  Though  the  name  of  Rasinius  appears  but  five  or  six  times 

1  Cf.  D.  J.,  cii,  1898,  pp.  115/.;  Rheinisches  Museum,  N.F.  ux,  1904,  p.  137;  and  the  remarks  of 
Lehner,  D.  J.,  cxxil,  1913.  pp.  -129/. 

^  Cf.  Not.  Seat.,  1883,  pp.  205  jf.;  188-1,  pp.  369/.;  1894,  p.  93;  1896,  pp.  453/.;  Bull.,  1884,  p.  9. 

•  Cf.  Not.  Scat).,  1883,  p.  269;  B.  J.,  cii,  1898,  p.  114. 

•  Cf.  supra,  pp.  6/. 

'  Cf.  Not.  Scav.,  1893,  p.  140. 

•  Cf.  Not.  Scav.,  1893.  pp.  138/.;  B.  J.,  xcn,  1895,  p.  50,  and  cu,  1898,  pp.  113/ 

[   19   ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(nos.  88,  102,  115,  116,  123,  and  probably  124),  the  four  complete  moulds 
that  bear  his  signature  (nos.  88,  102, 115, 116)  are  among  the  finest  in  the 
collection.  On  all  the  Boston  specimens,  the  name  has  the  form  RASIN, 
without  prgenomen  or  cognomen,  so  that  it  is  impossible  to  decide,  on  the 
basis  of  the  inscriptions  alone,  whether  we  are  dealing  with  the  well-known 
L.  Rasinius  Pisanus,  or  with  C.  Rasinius,  whose  name  is  attested  for 
Arretium,  or  with  an  entirely  different  member  of  the  gens  Rasinia.^ 
Other  considerations,  however,  make  it  probable  that  the  last  of  these 
suppositions  is  correct.  The  name  of  C.  Rasinius  has  as  yet  been  found 
only  on  plain  vases.  L.  Rasinius  Pisanus  apparently  was  active  compara- 
tively late  in  the  period  of  the  Arretine  development;  the  style  of  his  vases 
is  distinctly  degenerate  and  some  of  them  imitate  the  products  of  the 
Gaulish  potteries  which  brought  about  the  ruin  of  the  potteries  of  Arezzo.'* 
The  decorated  vases  of  the  best  period  signed  with  the  single  name  Ra- 
sinius, therefore,  very  surely  represent  the  work  of  a  different  man.  Frag- 
ments of  moulds  signed  with  Rasinius  alone  have  been  found  especially 
in  the  neighborhood  of  Santa  Maria  in  Gradi,  and  here  the  workshop  of 
Rasinius  was  probably  located.'  His  importance  is  shown  by  the  list  of 
his  slaves,  which  is  nearly  as  long  as  that  which  can  be  drawn  up  for  P. 
Cornelius.  Four  of  them  are  represented  in  the  Museum  collection: 
Certus  (no.  123);  Eros  (no.  88);^  Pantagatus  (nos.  115,  116);  and  Quartio 
(no.  102). 

C.  Memmius.  —  The  name  of  Memmius  appears  only  once  in  the 
Museum  collection,  in  the  combination  Rasini  Memmi  (no.  33),  the 
slave's  name  having  been  lost.  This  signature,  however,  is  of  no  little 
interest,  as  a  new  piece  of  evidence  to  prove  the  theory  that  Memmius  ac- 
quired some  of  the  slaves  of  Rasinius.  Other  more  conclusive  evidence 
is  that  the  slave  Mahes,  whose  name  is  found  in  connection  with  that  of 

*  A  vase  found  at  Arretium  in  1897  has  the  signature  Rufio  Rasiniae,  which  still  further  compli- 
cates the  problem.   Cf.  C.  I.  L.,  xi,  6700,  520  note,  and  547,  6. 

^  Cf.  Dechelette,  Les  vases  ciramiques  ornis  de  la  Gaule  romaine  (Paris,  1904),  I,  pp.  113  jf.; 
B.  M.  Cat.  R.  P.,  p.  xvii. 
5  Cf.  B.  J.,  cii,  1898,  p.  119. 

*  The  slave's  name  Eros,  so  far  as  I  am  aware,  has  not  been  noted  before  in  combination  with 
Rasinius  alone.  It  occurs,  however,  in  combination  with  Memmi  (cf.  C.  I.  L.,  xi,  6700,  380),  so  that 
Eros  was  probably  one  of  those  slaves  of  Rasinius  who  were  later  bought  by  C.  Memmius;  cf. 
B.  J.,  CII,  1898,  p.  120. 

[   20   ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Rasinius/  later  signs  himself  C.  Memm(i)  C.  l(iberti)  Mahe(tis);'^  that 
the  slave's  names  Pantagatus  and  Quartio  appear  in  combination  not  only 
with  Rasini,  but  also  with  Rasini  Memmi;  ^  that  at  least  one  other  slave's 
name  is  followed  by  the  same  combination,  Chrestus  Rasini  Memmi;* 
and  that  there  are  other  fragments  on  which,  as  on  no.  33,  the  slave's 
name  has  been  lost  and  only  the  words  Rasini  Memmi  are  preserved.* 
Remains  of  Memmius's  workshop  are  reported  to  have  been  found  in 
laying  foundations  on  the  Via  Guido  Monaco,  near  the  church  of  San 
Francesco.* 

C.  Tellius.  —  Three  fragments  in  the  collection  are  signed  by  C. 
Tellius  (nos.  84,  92,  119),  whose  pottery  near  the  Ponte  a  Buriano  '  was 
later  acquired  by  P.  Cornelius.*  One  of  these  fragments  (no.  84!)  bears 
the  slave's  name  Phileros. 

L.  Annius.  —  Three  members,  at  least,  of  the  gens  Annia  were  pro- 
prietors of  potteries  at  Arretium,  C.  Annius,  L.  Annius,  and  Sex.  Annius; 
and  the  form  Anni,  without  praenomen,  may  point  to  still  a  fourth  member 
of  the  family.  The  name  of  one  of  them  is  found  on  the  small  fragment 
no.  125.  The  inscription  should  probably  be  read  L.  Anni,  though  this  is 
not  absolutely  certain.  The  fragment  no.  106  is  signed  by  Atticus,  who 
was  one  of  the  slaves  of  L.  Annius.  The  factory  of  C.  Annius  was  near  the 
site  of  the  church  of  San  Francesco,  that  of  L.  Annius  probably  in  the  same 
neighborhood.* 

A.  Terentius.  —  The  inscription  A.  TER  of  no.  93  should  doubtless  be 
read  A.  Ter(enti),  as  this  name  is  found  in  full  on  Arretine  wares.  ^^  The 
site  of  Terentius's  pottery  has  not  yet  been  determined.  His  signature  was 
sometimes  impressed  with  a  stamp  in  the  form  of  the  sole  of  a  foot,  a  fact 
which  is  generally  held  to  point  to  a  comparatively  late  date  in  the  period 
of  the  Arretine  potteries. 

C.  ViBius.  —  The  small  cup  no.  135  has  the  signature  C.  VIB,  im- 

>  Cf.  C.  7.  i.,  XI,  6700.  535,  a.  ^  Cf.  C.  I.  L.,  xi,  6700,  386. 

'  Cf.  for  Pantagatus  Rasini,  nos.  115,  116,  and  Loeb  CoU.,  nos.  305,  30G;  for  Pantagatus  Rasini 
Memmi,  C.  I.  L.,  x,  805G,  248,  and  xv,  5514;  for  Quartio  Rasmi,  no.  102,  and  C.  7.  7,.,  xi,  C700, 
545;  for  Quartio  Rasini  Memmi,  C.  7.  L.,  xi,  6700,  546. 

*  Cf.  Loeb  Coll.,  no.  271.  '  Cf.  C.  I.  L.,  xi,  6700,  552,  and  Loeb  Coll..  nos.  308  and  337. 

«  Cf.  Ann.,  1872,  p.  293;  Not.  Scav.,  1892,  p.  339;  ibid.,  1894,  p.  119;  B.  J.,  cii,  1898,  p.  120. 

'  Cf.  C.  7.  L.,  XI,  p.  1082.  8  Cf.  supra,  p.  19. 

»  Cf.  Gamurrini,  p.  28;  B.  J.,  cii,  1898,  pp.  116/.  ">  Cf.  C.  I.  L.,  xi,  6700,  671. 

[  21  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

pressed  with  a  stamp  in  the  form  of  the  sole  of  a  foot.  The  inscription 
should  probably  be  read  C.  Vib(i)/  though  it  is  possible  that  it  should  be 
completed  C.  Vib(ieni).''  Gamurrini  places  the  pottery  of  C.  Vibius  just 
outside  the  walls  northeast  of  the  modern  city,  in  the  district  called 
Fonte  Pozzolo,*  but  the  evidence  on  which  he  bases  this  conjecture  is 
not  very  conclusive.'* 

PisANUs.  —  The  unusual  inscription  RHITV  PISA  of  no.  60  should 
undoubtedly  be  completed  Rhitu(s)  Pisa(ni),  and  one  is  tempted  to  iden- 
tify the  potter  with  L.  Rasinius  Pisanus.  The  careful  modelling  of  the 
figures,  however,  is  against  such  an  identification,  for  the  vases  of  L, 
Rasinius  Pisanus,  as  has  been  stated  before,*  are  distinctly  degenerate 
in  style.  This  fragment,  therefore,  suggests  that  there  was  an  earlier 
Pisanus,  working  in  the  best  period  of  the  Arretine  development,  —  a 
problem  which  only  more  careful  investigation  of  the  vases  and  fragments 
with  the  name  Pisanus  can  answer. 

Finally,  the  slave's  name  Phileros,  which  appears  on  no.  109,  is  one 
that  is  found  in  connection  with  several  different  potters;  *  and  the  in- 
scription of  no.  136,  which  appears  to  be  IVAI,  is  one  for  which  I  can 
offer  no  plausible  explanation. 

The  date  of  the  Arretine  wares  can  be  determined,  at  least  approxi- 
mately, from  a  number  of  bits  of  evidence.  Thus,  the  fact  that  the  slaves* 
names  on  the  vases  are  largely  Greek  proves  that  the  potteries  cannot  have 
flourished  before  the  Roman  conquest  of  Greece  in  146  B.C.  But  this 
argument  is  of  very  little  practical  value,  as  it  furnishes  only  a  terminus 
post  quern,  and  other  evidence  points  to  a  considerably  later  date  for  the 
beginning  of  the  manufacture.  The  forms  of  the  letters  of  the  inscriptions, 
also,  are  not  especially  helpful;  they  show  only  that  the  vases  were  made 
between  100  B.C.  and  100  a.d.  More  definite  inferences  can  sometimes 
be  drawn  from  the  circumstances  under  which  vases  and  fragments  have 
been  found.  A  vase  from  Cincelli,  signed  by  the  slave  Rodo,  has  as  a 
part  of  its  decoration  the  imprint  of  a  coin  with  the  head  of  the  young 
Octavius  and  the  inscription  Augustus.''  At  Haltern  in  Westphalia,  where 

'  Cf.  C.  I.  L.,  XI,  6700.  773.         «  Cf.  C.  I.  L.,  xi,  6700,  761.         •  Cf.  C.  I.  L.,  xi,  p.  1082. 

«  Cf.  Not.  Scav.,  1894,  p.  120.  '  Cf.  p.  20. 

•  The  possibilities  are  mentioned  m  the  note  on  no.  109.  '  Cf.  Not.  Scav.,  1894,  p.  49. 

[   22   ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

the  Roman  settlements  can  be  dated  between  11  b.c.  and  16  a.d.,  nu- 
merous fragments  of  Arretine  vases  have  been  found,  many  of  them  iden- 
tified by  the  signatures  of  well-known  potters,  such  as  L.  Annius,  Sex. 
Annius,  P.  Cornelius,  Memmius,  Perennius,  and  Rasinius.*  At  Mont 
Beuvray,  near  Autun,  the  site  of  the  ^duan  town  of  Bibracte,  fragments 
with  signatures  of  several  Arretine  potters  were  found.  From  this  fact 
Dragendorff  argued  that  these  vases  must  have  been  imported  into  Gaul 
before  the  destruction  of  Bibracte  by  Caesar,  and  that  the  earlier  Arretine 
fabrics,  therefore,  went  back  to  the  first  half  of  the  first  century,  B.c.'^ 
Excavations  at  Mont  Beuvray  have  shown,  however,  that  a  settlement 
existed  on  the  hill  until  the  last  years  of  the  first  century,  B.C.,  when 
the  town  was  transferred  to  the  plain  by  the  Emperor  Augustus  and  re- 
ceived the  name  of  Augustodunum,  preserved  in  the  modern  Autun.'  The 
fragments,  therefore,  probably  are  relics  of  the  later  settlement,  not  of  the 
town  destroyed  by  Caesar.*  Finally,  an  even  more  definite  date  for  the  be- 
ginning of  the  manufacture  has  been  proposed  by  Oxe,  who  bases  his  ar- 
gument on  the  manner  in  which  the  names  of  slaves  and  masters  are  com- 
bined in  the  inscriptions.  Arguing  principally  from  datable  inscriptions 
on  stone,  Oxe  shows  that  none  of  the  combinations  that  appear  on  Arre- 
tine vases  is  earlier  than  the  last  years  of  the  Roman  Republic.  Most  of 
them  are  similar  to  formulae  in  use  during  the  earlier  years  of  the  Empire. 
The  beginning  of  the  manufacture  of  the  typical  Arretine  wares  with  bril- 
liant red  glaze,  therefore,  may  be  placed  some  time  in  the  decade  between 
40  and  30  b.c.^    As  for  the  end  of  the  manufacture,  the  discoveries  at 

*  Cf.  S.  Loeschcke,  Mitteilungen  der  Altertumakommission  Jiir  Westfalen,  v,  1909,  pp.  119-127 
and  167/. 

'  Cf.  n.  J.,  xcvi,  1895,  p.  50. 

*  Cf.  Bulliot,  Fouilles  de  Mont  Beuvray,  Autun,  1899;  C.  I.  L.,  xiii,  p.  402.  From  the  roius  found 
at  Mont  Beuvray,  De  Barthelemy  argued  (Rev.  Arch.,  1870-71,  p.  27)  that  the  settlement  was 
not  transferred  to  the  plain  until  5  or  6  B.C.,  and  with  this  dating  the  latest  investigator,  Deehe- 
lette,  agrees;  cf.  Dechclette,  Let  fouilles  du  Mont  Bewray  de  1897  a  1901,  Paris,  1904,  pp.  118/. 

*  Cf.  0x6,  "Zur  iilteren  Nomenklatur  der  romischen  Sklaven,"  BJieinisches  Museum,  N.F. 
Lix,  1904,  pp.  130/. 

'  Cf.  Oxe,  loc.  cit.,  pp.  127/.;  Dragendorff,  B.  J.,  cxiii,  1905,  p.  252.  With  this  dating  the  argu- 
ments advanced  hy  Frickcnhaus  {B.  J.,  cxviii,  1909,  pp.  27-.'?3)  as  to  the  terminus  post  quern  of  the 
Arretine  wares  agree.  He  argues,  as  others  have  argued  i)efore  (ef.  especially  Dennis,  Cities  and 
Cemeteries  of  Etruria,^  ii,  p.  390),  that  the  Etruscan  city  occupied  a  different  site  from  that  of  the 
Roman  Arretium  and  the  modern  town;  that  the  Roman  city  dates  from  the  colonization  of  Sulla 
and  that  the  potteries,  therefore,  which  have  been  found  in  and  near  the  modern  town,  were 

[  23  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Pompeii  afford  some  evidence.  Most  of  the  examples  of  Arretine  vases 
that  have  been  found  there  are  distinctly  late  and  degenerate  in  style,  a 
proof  that  by  the  year  79  a.d.  the  Arretine  ware  was  in  full  decadence.  The 
remains  of  Roman  settlements  in  Germany  confirm  the  evidence  of  Pom- 
peii. In  general,  fragments  of  Arretine  vases  are  found  on  sites  which 
began  to  be  occupied  towards  the  end  of  the  first  century  before  Christ  or 
in  the  first  half  of  the  first  century  after  Christ.  It  is  noteworthy  that  at 
Kongen,  where  the  earliest  settlement  is  dated  in  the  reign  of  Domitian 
(81-96  A.D.),  no  Arretine  ware  was  found.'  Roughly,  therefore,  the  cen- 
tury between  40  b.c.  and  60  a.d.  may  be  regarded  as  the  flourishing  period 
of  the  Arretine  potteries.  The  finest  products  are  works  of  the  Augustan 
age. 

With  these  dates  the  style  of  the  Arretine  vases  agrees  perfectly.  Even 
a  little  study  of  any  considerable  collection  of  Arretine  ware  is  suflScient 
to  show  the  mixed  character  of  the  style.  Individual  figures  not  infre- 
quently are  distinctly  reminiscent  of  Greek  works  of  the  fifth  century  B.C.  ;^ 
others  recall  tj'pes  which  did  not  become  common  until  the  fourth  cen- 
tury;^ and  others  still  seem  to  be  drawn  from  the  art  of  the  Hellenistic 
age.^  Again,  on  vases  of  Class  I,  as  has  frequently  been  pointed  out,  there 
is  a  whole  series  of  figures  which  are  almost  exact  replicas  of  figures  that 
app>ear  on  the  so-called  Neo-Attic  reliefs,^  and  many  others,  though  they 
cannot  be  exactly  paralleled  in  Neo-Attic  work,  exhibit  similar  tenden- 
cies.  Almost  all  the  figures  of  this  sort  are  characterized  by  a  stiff,  ar- 

closely  associated  with  the  Roman  city,  and  so  cannot  have  been  established  before  about  80  B.C. 
Not  every  point  in  this  argument  can  be  regarded  as  proved,  but  it  is  a  probable  interpretation 
of  the  few  known  facts,  and  it  tends  to  confirm  the  dating  which  I  have  suggested.  If  the  pot- 
teries were  established  after  80  B.C.  and  for  some  years  manufactured  vases  with  a  black  surface 
(cf.  supra,  p.  14)  the  period  between  40  and  30  B.C.  seems  a  very  probable  time  for  the  beginning 
of  the  red-glaze  wares. 

*  Cf.  R.  Knorr,  Die  verderten  Terra  sigillata-Gefiisse  von  Kongen-Grinario  (Stuttgart,  1905),  pp. 
8-10.  The  cause  of  the  decline  of  the  Arretine  potteries  was  undoubtedly  the  development  of  rival 
establishments  in  Gaul  during  the  first  century  after  Christ.  These  Gallic  potteries  quickly  drove 
the  Arretine  manufactories  out  of  the  markets  of  the  northern  provinces  and  competed  successfully 
with  them  in  Italy  itself.  Many  examples  of  Gallic  wares  have  been  found  at  Pompeii.  In  Germany, 
also,  and  in  Britain,  the  Gallic  products  were  widely  distributed,  and  in  imitation  of  them  the 
potters  of  Germany  developed  a  flourishing  industry  in  the  manufacture  of  terra  sigillata.  On  these 
later  developments,  cf.  Dragendorff,  B.  J.,  xcvi,  1895,  pp.  81-155;  Dechelette,  Les  vases  chamigues 
ornis  de  la  Gaule  Romaine  (Paris,  1904);  Walters,  n,  pp.  497-539;  B.  M.  Cat.  R.  P.,  pp.  xxiii-xlvi. 

»  Cf.  nos.  6,  37,  91.  >  Cf.  nos.  13,  14.  *  Cf.  nos.  60,  61.  82,  83. 

'  Cf.  Hauser,  Die  neu-attischen  Reliefs  (Stuttgart.  1889),  pp.  110/. 

[  24  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

chaistic  treatment  of  the  drapery  and  by  graceful,  but  rather  affected, 
poses.  The  vases  of  the  second  class,  with  their  marked  fondness  for 
naturalistic  ornament  and  pictorial  background,  frequently  recall  the  so- 
called  Hellenistic  reliefs.^  The  great  use  of  scrolls  of  conventionalized 
foliage  finds  its  closest  analogj^  in  Roman  work  of  the  early  Empire.  Such 
a  combination  of  elements  drawn  from  many  sources  is  hardly  possible 
before  the  last  days  of  the  Roman  Republic  and  the  early  years  of  the 
Empire.  The  close  parallelism  between  the  decoration  of  the  Arretine 
wares  and  that  of  the  monuments  of  the  Augustan  age,  especially  the  Ara 
Pacis  Augustse,  has  been  pointed  out  by  Dragendorff  .^  On  the  other  hand, 
there  is  no  trace  in  the  Arretine  vases  of  the  "illusionist"  style  which  came 
in  after  the  Augustan  age,^  —  a  proof  that  the  types  of  the  potters'  reper- 
toire were  fixed  before  the  introduction  of  the  illusionist  style. 

That  the  Arretine  potters  themselves  invented  the  mixed  style  which 
we  find  in  their  products  is  highly  improbable.  It  is  much  more  likely 
that  they  borrowed  their  stock  of  decorative  types  from  the  same  source 
from  which  they  took  the  types  of  their  vases,  that  is,  from  vessels  of 
gold  and  silver  and  other  metals.  That  the  forms  go  back  to  metal 
originals  has  long  been  recognized.  It  is  proved  by  the  thin  walls  of  the 
great  majority  of  the  vases,  by  the  sharp  and  angular  profiles  of  many 
shapes,  particularly  the  flat  plates,  and  by  the  forms  of  the  handles,  which 
are  often  exactly  similar  to  handles  of  silver  and  bronze  found  in  many 
parts  of  the  Roman  world. ^  For  the  decorative  motives  and  the  whole 
scheme  of  the  decoration,  many  analogies  can  be  found  among  the  silver 
vases  from  Bernay,  from  Hildesheim,  and  from  Bosco  Reale,*  and  the 
clearness  and  delicacy  of  the  designs  constantly  suggest  the  work  of  the 
goldsmith  and  the  silversmith.  The  analogy  of  the  late  Greek  vases  with 
decoration  in  relief,  also,  such  as  the  "Megarian  bowls"  and  the  "Calense 
phialai,"  which  are  certainly  copied  from  metal  prototypes,  points  in  the 
same  direction.  For  all  these  reasons  it  seems  practically  certain  that  the 
Arretine  vases  were  intended  to  serve  as  less  expensive  substitutes  for 
vessels  of  gold  and  silver  and  bronze,  and  that  they  reproduce  very  closely 

'  Cf.  Schreiber,  Die  hdlenistiscken  Relief bilder.  Leipzig,  1894. 

«  Cf.  B.  J..  CHI,  189a,  pp.  87-109. 

'  Cf.  Wickhoff,  Roman  Art  (translated  by  Mrs.  S.  A.  Strong,  New  York,  1900),  pp.  18  jf. 

*  Cf.  the  note  on  no.  137.  '  Cf.  the  notes  on  nos.  98,  113,  115,  110. 

[25  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

the  decoration  of  such  vessels.^  It  is  not  at  all  impossible  that  single 
figures,  and  perhaps  whole  compositions  were  in  some  cases  modelled  di- 
rectly from  metal  prototypes.  Pliny,  in  his  brief  account  of  metal  chasing, 
speaks  of  a  certain  Pytheas,  who  "made  small  drinking  cups  in  the  form 
of  cooks,  called  magiriscia,  of  which  it  was  impossible  to  take  a  cast,  so 
liable  to  injury  was  their  delicate  chasing,"  ^  —  a  passage  which  implies 
that  the  practice  of  making  casts  from  silver  vases  for  the  purpose  of  re- 
producing them  in  less  valuable  materials  was  a  common  one.  If  this  is  true, 
these  humble  products  of  ceramic  art  gain  immensely  in  value,  for  with 
their  help  we  can  do  much  to  reconstruct  the  form  and  the  decoration  of 
that  wealth  of  gold  and  silver  vessels  which  evidently  existed  in  Italy 
in  the  early  days  of  the  Roman  Empire,  and  of  which  the  finds  at  Bernay, 
at  Hildesheim,  and  at  Bosco  Reale  have  given  us  hardly  more  than  tanta- 
lizing suggestions.  Better,  perhaps,  than  any  other  sort  of  Roman  work, 
the  Arretine  vases  show  how  the  great  store  of  beautiful  and  graceful 
forms  evolved  through  long  centuries  by  the  artists  of  Greece,  even  when, 
in  the  hands  of  the  Romans,  they  had  come  to  be  used  in  an  almost  purely 
decorative  fashion,  still  retained  much  of  the  grace  and  charm  that  were 
inherent  in  all  the  products  of  Greek  genius. 

On  the  other  hand,  it  is  hardly  possible  to  study  any  considerable  col- 
lection of  Arretine  vases  without  being  struck  by  the  evident  similarities 
between  the  decorative  motives,  particularly  the  garlands  of  fruit  and 
flowers,  and  those  employed  by  many  of  the  artists  of  the  Renaissance. 
This  is  an  aspect  of  the  study  of  Roman  pottery  which  can  only  be 
touched  on  here,  but  it  suggests  an  interesting  field  of  inquiry  for  students 
of  Renaissance  and  later  art.  It  is,  of  course,  well  known  that  the  Renais- 
sance painters  and  sculptors  drew  their  inspiration  very  largely  from  the 
monuments  which  they  saw  about  them,  especially  from  Roman  sar- 
cophagi and  marble  reliefs  with  their  elaborate  floral  ornamentation.  In 
view  of  the  enthusiasm  with  which  Ser  Ristoro  speaks  of  the  earliest  finds 

*  Following  a  suggestion  of  Mr.  Loeb's,  several  of  the  finest  moulds  in  his  collection  have  been 
used  for  galvanoplastic  reproductions  with  a  silver  finish  by  the  WUrttembergische  Metallwaren- 
fabrik  of  Geislingen,  WUrttcmberg.  (The  published  catalogue  has  the  title  Galvanoplastische  Nach- 
bildungen  arretinischer  Gefdsse).  The  effect  is  very  pleasing,  and  the  experiment  at  least  shows  the 
fitness  of  the  designs  for  work  in  the  precious  metals. 

'  Cf.  Pliny,  N.  H.,  33,  157. 

[   26   ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

of  Arretine  vases,  one  may  well  ask  whether  these  less  important  relics 
of  antiquity  may  not  also  have  played  a  part  in  the  development  of 
Italian  art.  The  resemblances  between  the  garlands  of  the  Arretine  bowls 
and  those  used  by  artists  like  Ghirlandajo  and  the  della  Robbias  are  cer- 
tainly striking,  and  closer  study  would  probably  reveal  many  analogies 
that  do  not  appear  at  first  sight.  If  such  a  connection  could  be  proved, 
the  Arretine  pottery  would  gain  a  new  importance,  as  one  of  the  channels 
by  which  the  inheritance  of  antiquity  was  handed  down  to  modern  times. 


CLASS  I 

(a)    SINGLE  FIGURES  OF  DIVINITIES    (aPOLLO,   ARTEMIS,   LETO,   NIKe), 
SOMETIMES   COMBINED    WITH   OTHER   FIGURES 

Moulds 

I.  About  half  of  a  mould  for  a  large  bowl.  Put  together  from  three 
fragments.  H.  10.8  cm.  D.  22  em.  Reg.  98.867.  Ann.  Rep.,  1898,  p.  83, 
no.  31.  Plate  III. 

At  the  bottom  of  the  field,  summary  mdication  of  the  ground  below  the 
feet  of  the  figures,  with  plant  stalks  rising  at  intervals,  and  a  plain  mould- 
ing, which  served  as  a  guide  to  the  potter  in  impressing  the  figures.  At 
the  top  of  the  field  a  row  of  bosses,  and  below  it  a  conventional  laurel  leaf 
pattern,  broken,  in  all  cases,  by  the  upper  parts  of  the  figures.  In  the  field, 
passing  behind  the  figures,  are  loops  of  conventional  laurel  leaf  pattern, 
attached  in  one  case  to  the  pattern  at  the  top  (the  juncture  covered  by  a 
bell-shaped  ornament),  in  two  cases  to  large  columns  which  separate  the 
figures.  These  columns  are  simple  Doric  shafts,  composed,  in  each  case, 
of  five  drums,  which  are  unfluted,  but  show  anathyrosis  at  the  joints.  On 
each  column  is  a  wreath  of  conventional  laurel  leaf  pattern  encircling  the 
shaft,  and  above  each  is  a  small  statuette.  Both  of  the  statuettes  repre- 
sent closely  draped  female  figures  in  front  view,  but  the  one  at  the  left  is 
bare-headed  and  rests  directly  on  the  capital  of  the  column,  the  one  at 
the  right  wears  a  high,  pointed  cap  and  stands  on  a  low  base. 

The  centre  of  the  preserved  fragment  is  occupied  by  an  altar.  It  has 
four  mouldings  at  the  bottom  and  is  decorated  with  three  draped  female 
figures  in  very  low  relief.  All  are  dancing  to  the  right,  the  first  and  second 
looking  back  at  the  third.  The  first  figure  has  her  left  hand  at  the  side, 
holding  up  the  lower  part  of  her  drapery;  the  second  has  her  left  arm  raised 
and  with  her  right  hand  holds  a  flying  end  of  the  drapery  of  the  first 
figure;  the  third  holds  the  edge  of  her  chiton  in  her  left  hand  and  her 
right  swings  idly  behind  her.  The  altar  is  finished  off  at  the  top  by  a  low 
cornice  with  dentils.  On  top  of  it  are  flames  rising.  At  the  left  of  the  altar, 

[  28  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

separated  by  a  column,  are  Apollo  and  Artemis;  at  the  right  are  Nike 
and  part  of  a  figure  of  Leto.  The  description  follows. 

(a)  Artemis  in  profile  to  right.  She  is  dressed  in  a  long,  overgirt  Ionic 
chiton  and  a  heavy  himation,  one  end  of  which  she  holds  with  her  ex- 
tended right  hand.  The  details  of  the  drapery  are  rendered  with  great 
care,  especially  the  fastening  of  the  chiton  over  the  right  arm;  some  of  the 
folds  are  treated  archaistically.  On  the  right  arm  is  a  twisted  bracelet. 
The  hair  is  gathered  in  a  knot  behind,  with  ends  falling  to  the  right  shoul- 
der.   In  her  extended  left  hand  she  holds  a  long  torch. 

(b)  Apollo  Citharcedus,  in  profile  to  right.  The  god  is  posed  on  tiptoe 
in  the  manner  of  archaistic  reliefs  in  marble.  He  wears  a  long,  sleeved 
chiton,  overgirt,  with  a  heavy  himation  falling  from  the  shoulders;  the 
folds  of  the  himation  are  treated  archaistically.  On  his  feet,  the  sandals 
are  carefully  indicated.  In  his  left  hand  he  holds  a  large  lyre,  with  the 
strings  summarily  indicated;  in  his  right,  which  is  extended  in  front  of 
the  lyre,  he  holds  a  plectrum.  His  long  hair  is  gathered  in  a  knot  behind, 
with  two  curls  falling  to  the  right  shoulder;  in  the  hair  is  a  wreath  (of 
laurel.''). 

(c)  Nike  pouring  a  libation.  The  goddess  is  represented  in  profile  to 
left,  posed  on  tiptoe,  in  archaistic  fashion.  She  wears  a  long,  overgirt 
Doric  chiton;  the  folds  of  the  skirt  are  freely  and  gracefully  rendered, 
those  of  the  apoptygma  are  markedly  archaistic.  The  right  arm  is  raised 
and  the  right  hand  holds  a  small  pitcher,  from  which  the  goddess  pours 
a  libation  upon  the  altar  in  front  of  her;  the  libation  is  indicated  by  very 
faint  lines  drawn  from  the  pitcher  to  the  altar.  The  left  arm  is  lowered  and 
bent  at  the  elbow;  on  it  are  two  simple  bracelets,  one  on  the  upper  arm, 
the  other  just  above  the  wrist.  The  thumb  and  the  forefinger  of  the  left 
hand  are  brought  together,  as  if  they  held  some  object,  but  this  was  not 
added  by  the  potter.  The  head  is  remarkably  small  for  the  figure,  and 
was  evidently  made  from  a  stamp  for  a  smaller  figure.  The  hair  is  con- 
fined by  a  fillet,  which  passes  twice  around  the  head.  The  wings  are  large, 
and  placed  too  high. 

(d)  Of  Leto  only  the  head  (in  profile  to  right)  and  the  right  arm  and 
breast  (in  front  view)  are  preserved.  The  hair  is  tied  in  a  knot  behinil, 
and  confined  by  a  fillet,  which  passes  twice  around  the  head.  The  dress  was 

[  29  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

a  high-girt  Doric  chiton  and  a  shawl-Hke  himation.  Part  of  the  latter  is 
held  in  the  raised  right  hand,  the  end  falling  behind  the  raised  arm. 

This  subject  —  Apollo,  Artemis,  and  Leto  advancing  toward  Nilce, 
who  pours  a  libation  —  is  of  frequent  occurrence  on  monuments  of  the 
Roman  period.  The  most  familiar  examples  are  marble  reliefs  of  archa- 
istic  style,  of  which  a  considerable  number,  showing  slight  variation  in 
details  and  sometimes  omission  or  suppression  of  one  or  two  figures,  has 
been  preserved  (cf.  Overbeck,  Griechische  Kunstmythologie,  in,  Apollon, 
pp.  259  ff.,  pi.  XXI,  10-12;  Schreiber,  Hellenistische  Reliefbilder,  pis. 
xxxiv-xxxvi).  The  most  complete  of  these  differ  in  several  respects  from 
the  Arretine  fragment :  they  have  as  a  background  a  high  wall  with  the 
upper  part  of  a  large  Corinthian  temple  and  a  tree  appearing  above  it; 
at  the  left  stands  a  large  tripod  on  a  tall  pillar;  at  the  right  is  an  archaic 
statue  of  Apollo,  also  on  a  high  pillar;  the  altar  stands  at  the  extreme  right; 
and  Apollo  and  Nike  are  placed  closer  together,  so  that  Nike  pours  the 
libation  into  a  patera  which  Apollo  holds  in  his  right  hand.  The  Arretine 
potter,  by  placing  the  altar  between  Nike  and  Apollo,  produced  a  less 
effective  design,  but  the  similarity  to  the  marble  reliefs  is  so  great  that 
there  can  be  no  doubt  that  both  sets  of  monuments  go  back  to  a  common 
original.  The  date  and  the  purpose  of  this  original  have  been  much  dis- 
puted (cf.  Reisch,  Griechische  Weihgeschenke,  pp.  24-27),  but  it  was  prob- 
ably a  Greek  relief  of  the  fourth  or  the  third  century  B.C.  dedicated  at 
Delphi  by  a  winner  of  a  musical  contest  in  the  Pythian  games.  On  the 
mural  reliefs  of  terra-cotta,  Apollo  and  Nike,  grouped  as  they  are  on  the 
marble  reliefs,  appear  frequently,  but  the  figures  of  Artemis  and  Leto  have 
not  been  found  on  this  class  of  monuments  (cf.  von  Rohden-Winnefeld, 
pp.  17-19,  figs.  24-27,  and  pi.  cxi,  2,  3). 

The  group  of  three  dancing  figures  which  is  here  used  to  decorate  the 
altar  occurs  frequently  in  Neo-Attic  reliefs.  The  figures  have  been  inter- 
preted as  the  Nymphs,  the  Graces,  or  the  Seasons.  The  first  interpreta- 
tion is  the  most  probable,  since  in  the  earliest  Greek  monuments  on 
which  these  figures  appear,  they  are  closely  associated  with  Pan  and  are 
sometimes  designated  by  inscriptions  (cf.  Pottier,  B.  C.  H.,  v,  1881,  pp. 
349-357,  pi.  vn;  Myres,  B.  S.  A.,  iii,  1896-97,  pp.  170-174,  pi.  xiv;  Hauser, 
Die  neu-attischen  Reliefs,  p.  32,  no.  40,  with  pi.  in,  46) ;  but  by  the  time  of 

[  30  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

the  Arretine  development  it  is  likely  that  they  had  lost  much  of  their 
original  significance. 
Cf.  no.  5. 

2.  Mould  for  a  large  bowl  with  flaring  lip.  Put  together  from  five  pieces, 
but  complete  except  for  one  small  fragment.  H.  12.8  cm.  D.  23.3  cm. 
Reg.  04.20.   Ann.  Rep.,  1904,  p.  60,  no.  2.  Plates  IV,  V. 

Above  the  main  field  the  concave  lip  is  decorated  with  a  very  delicate 
wreath  made  up  of  sprays  of  grapevine,  olive,  ivy,  and  poppy,  together 
with  somewhat  conventionalized  leaves  and  flowers.  Below  the  main  field 
is  a  second  field  defined  by  a  plain  moulding  below  and  a  row  of  bosses 
and  a  plain  moulding  above.  In  this  field  are  alternating  plain  and  notched 
leaves,  with  flowers  on  curving  stems  between  each  pair  and  a  band  of 
rosettes  at  their  bases. 

The  principal  field  is  divided  into  five  parts  by  four  large  incense  burners 
and  a  large  tripod  set  on  a  high  base  (or  altar).  The  incense  burners  are  all 
alike.  Each  consists  of  a  triangular  base  with  palmettes  at  the  lower  cor- 
ners, where  the  feet  are  attached.  The  stem  is  decorated  with  three  large 
discs  set  horizontally  and  ornamented  with  patterns.  The  three  lower  sec- 
tions of  the  stem  are  ribbed  vertically  and  each  has  a  projecting  convex 
moulding  at  the  centre;  the  uppermost  member  has  the  form  of  a  small 
crater  with  ribbed  body  and  a  notched  moulding  at  the  top.  The  bowl 
is  flat  with  a  scalloped  edge,  and  in  it  appear  three  objects  resembling 
pine-cones,  probably  to  be  interpreted  as  incense. 

The  tripod  is  of  the  usual  form  —  a  shallow  bowl  set  on  three  legs.  These 
are  rectangular  in  plan,  tapering  toward  the  bottom,  and  ending  in  lion's 
paws.  The  centre  leg  is  represented  in  front  view,  the  other  two  in  pro- 
file. On  either  side  of  the  central  leg  is  a  double  spiral.  The  outer  surface 
of  the  bowl  presents  a  series  of  broad  ribs  (four  appear  between  each  pair 
of  legs),  and  the  upper  edge  has  a  plain  moulding  with  a  bead  moulding 
above  it.  Upon  this  three  sphinxes  with  outspread  wings,  one  over  each 
leg,  serve  as  supports  to  an  ornamental  top,  decorated  with  a  conventional 
laurel  leaf  pattern  and  with  two  plain  mouldings  at  top  and  bottom. 
Between  each  pair  of  sphinxes  is  a  plain  ring.  The  base  (or  altar)  on  which 
the  tripod  stands  is  exactly  like  the  altar  of  no.  1. 

[  31  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

In  the  five  spaces  thus  distinguished  are  five  large  figures.  Beginning 
with  the  figure  at  the  left  of  the  tripod  these  are  as  follows :  — 

(a)  Apollo  Citharoedus,  exactly  like  the  Apollo,  no.  1(6). 

(b)  Winged  genius  playing  the  double  flute.  The  figure  is  in  profile  to  left, 
and  so  forms  a  pendant  to  the  Apollo.  She  wears  a  short  skirt,  caught 
up  on  the  hips  and  falling  only  to  the  knees,  and  a  chlamys  fastened  in 
front  of  the  neck  and  falling  over  the  shoulders  behind;  the  folds  of  both 
these  garments  show  archaic  mannerisms.  The  wings  are  of  the  usual 
closed  type.  Both  arms  are  extended,  and  each  hand  holds  one  of  the 
flutes.  In  the  hair  a  depression  suggests  a  narrow  fillet.  Above  and  to  the 
left,  the  signature  M.  Peren{ni),  placed  upside  down. 

(c)  Maenad  holding  liknon  (vannus).  The  figure  is  in  profile  to  right, 
but  the  head  is  in  full  face.  She  is  dressed  in  a  long,  overgirt  Doric  chiton 
which  is  modelled  in  very  delicate  folds.  Both  hands  are  raised,  the  right 
supporting  the  liknon,  the  left  raising  a  long  cloth  which  partially  covers 
it.  In  the  visible  portion  of  the  liknon,  fruit  of  indeterminate  species  is 
represented,  and  under  the  cloth  a  large  phallus  can  be  made  out.  In  the 
hair  of  the  mgenad  a  wreath  of  ivy  is  summarily  indicated. 

(d)  Dancing  maenad  holding  tjTiipanum.  The  figure  is  in  profile  to  left, 
and  so  forms  a  pendant  to  the  maenad  with  the  liknon,  but  the  head  is 
turned  and  the  maenad  looks  back  toward  the  next  figure.  She  is  dressed 
in  Doric  chiton  and  himation,  modelled  in  very  graceful,  agitated  folds^ 
Her  left  hand  is  raised  and  holds  a  tympanum,  on  which  an  eight-pointed 
star  is  summarily  indicated.  A  depression  in  the  hair  suggests  a  narrow 
fillet.  Above  and  to  the  left,  the  signature  Tigrani. 

(e)  Dancing  satyr  playing  the  double  flute.  He  moves  to  the  right,  but 
turns  to  look  towards  the  maenad  (d).  He  is  dressed  only  in  a  panther's 
skin,  the  paws  of  which  are  knotted  about  his  neck.  Both  hands  are  ex- 
tended, grasping  the  flutes.  The  modelling  in  places  is  extremely  cajeful; 
the  distended  cheek,  especially,  is  rendered  with  great  care. 

Many  of  the  elements  of  the  decoration  are  found  on  other  Arretine 
moulds  and  vases,  especially  on  the  products  of  the  workshop  of  Peren- 
nius.  For  the  Apollo,  cf.  the  note  on  no.  1;  for  the  winged  genius,  the  note 
on  no.  26.  The  maenad  holding  the  vannus  is  found  on  a  mould  in  the  Metro- 
politan Museum  of  Art,  New  York,  signed  by  Philemon  as  workman  of 

[  32  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Perennius,  which  is  pubHshed  in  the  Bull.  Met.  Mus.  Art,  iv,  1909,  p.  127, 
fig.  3;  cf.  also  Not.  Scav.,  1884,  pi.  vii,  1,  and  Holder,  pi.  xxiv,  6.  The  high 
stand  described  as  an  incense  burner  is  frequently  found;  cf.  B.  M.  Cat. 
R.  P.,  L  54,  pi.  VI,  and  L  73,  fig.  14,  p.  23.  It  is  often  called  a  lampstand 
or  a  candelabrum,  but  the  interpretation  as  a  thymiaterion  or  incense 
burner,  proposed  by  K.  Wigand  in  B.  J.,  cxxii,  1912,  p.  62,  seems  more 
probable.  The  tripod,  also,  appears  frequently  (cf.  Not.  Scav.,  1884, 
pi.  IX,  6)  and  is  often  combined  with  a  base  or  altar  (cf.  Loeb  Coll.,  pi. 
Ill,  no.  53).  For  the  reliefs  on  the  base,  cf.  the  note  on  no.  1.  For  the  in- 
scription, cf.  C.  I.  L.,  XI,  6700,  450,  n. 

3.  About  half  of  a  mould  for  a  large  bowl.  Put  together  from  two  pieces. 
H.  13.2  cm.  D.  22.7  cm.  Reg.  04.21.  ^nn. /Jep.,  1904,p.  61,  no.  12.  Plate 
VI. 

The  lower  field  is  decorated  with  alternating  leaves  and  flowers  on 
curving  stems;  below,  a  band  of  rosettes.  The  principal  field  has  at  the 
bottom  a  plain  moulding,  on  which  the  feet  of  the  figures  rest  and  from 
which,  at  intervals,  spring  conventional  plant  stems  with  flowers;  at  the 
top,  a  band  of  rosettes  and  a  plain  moulding.  The  figures  of  the  frieze 
are  separated  in  one  instance  by  an  incense  burner,  exactly  similar  to  the 
incense  burner  on  no.  2;  in  another  by  a  tripod  exactly  like  the  tripod 
on  no.  2.   Above  the  tripod  is  the  signature  Pilades. 

Four  figures  are  wholly  or  partially  preserved;  from  left  to  right  these 
are  as  follows :  — 

(a)  Winged  genius  playing  a  lyre.  Only  the  right  half  of  the  figure  is  pre- 
served, in  profile  to  right.  The  dress  is  the  usual  short  skirt,  knotted  at 
the  waist.  The  lyre  was  held  in  the  left  arm;  the  right  hand,  which  is  pre- 
served, holds  the  plectrum. 

(6)  Winged  genius  playing  the  double  flute.  The  figure  is  in  profile  to 
left.  It  closely  resembles  the  usual  type,  except  that  the  figure  is  provided 
with  a  sort  of  tail  resembling  an  acanthus  leaf;  this  projects  from  the 
drapery  behind,  curling  upward. 

(c)  Nike  pouring  a  libation.  The  figure  is  similar  to  the  Nike  of  no. 
1  (c),  but  it  is  smaller  in  all  respects,  and  much  less  careful  in  details. 
The  wings  are  here  correctly  attached. 

[33] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(d)  Winged  genius  playing  the  lyre.  This  figure  is  almost  entirely  pre- 
served. It  resembles  (a),  and  was  evidently  made  with  the  same  stamps. 
The  genius  is  in  profile  to  right,  dressed  in  a  short  skirt,  knotted  about  the 
hips  and  falling  to  the  knees,  with  the  acanthus-like  tail  projecting  below 
it.  Over  the  shoulders  is  a  chlamys,  which  is  fastened  in  front  of  the 
neck.   A  depression  in  the  hair  suggests  a  fillet. 

Cf.  for  the  types  of  winged  genii,  the  notes  on  nos.  26  and  29;  for  the 
Nike,  the  note  on  no.  1.  The  incense  burner  is  reproduced  (from  a  cast 
in  the  Romisch-Germanisches  Zentral-Museum  in  Mainz)  by  K.  Wigand 
in  an  article  "Thymiateria,"  B.  J.,  cxxii,  1912,  pi.  in,  fig.  92,  and  pi.  vi, 
2.  For  the  signature,  cf.  C.  I.  L.,  xi,  6700,  445,  d. 

4.  Fragment  of  a  mould  for  a  bowl  of  medium  size.  H.  11.2  cm.  L.  14.1 
cm.  Reg.  98.830.  ^wre.  i?e/>.,  1898,  p.  90,  no.  65.  Plate  XXIII. 

The  field  is  bounded  below  by  a  row  of  bosses,  and  above  by  a  row  of 
circles  and  two  plain  mouldings.  The  ground  below  the  feet  of  the  figures 
is  summarily  indicated  by  horizontal  bands,  from  which  rise  two  pairs  of 
iris-like  flowers  on  long  stems. 

The  only  figure  which  is  completely  preserved  is  Artemis,  running  to 
right.  She  wears  a  doubly-girt  Doric  chiton,  reaching  only  to  mid-thigh, 
and  high  boots  with  flaps.  In  her  left  hand  she  holds  her  bow;  her  right 
hand  is  raised,  as  if  she  had  just  shot  an  arrow.  Her  hair  is  gathered  in  a 
knot.  Behind  her  is  visible  part  of  a  nude  figure  in  armor.  He  wears  a 
Corinthian  helmet,  pushed  back  so  as  to  uncover  the  face,  and  carries 
a  shield  on  his  left  arm.  In  front  of  the  shield  appears  part  of  a  short 
sword,  which  was,  no  doubt,  carried  in  the  right  hand. 

Vases 

5.  Fragment  of  a  vase  made  from  the  mould  no.  1.  H.  11.1  cm.  L. 
15  cm.  Reg.  10.225.  Ann.  Rep.,  1910,  p.  65.  Plate  XXIX. 

The  fragment  shows,  from  left  to  right,  most  of  the  altar,  the  lower  part 
of  the  figure  of  Nike,  a  column  with  about  half  of  the  statuette  on  it,  and 
almost  all  of  the  Leto.  The  lower  part  of  this  figure  is  in  profile  to  right. 
The  left  arm,  over  which  an  end  of  the  himation  hangs,  is  extended  and 
the  left  hand  holds  a  torch.  At  the  extreme  right  end  of  the  fragment  a 
small  part  of  a  second  column  is  visible. 

[34] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

That  the  vase  from  which  no.  5  came  was  made  from  the  mould  no.  1 
is  clear  from  the  relative  positions  of  the  figures  and  exact  correspondence 
in  details,  especially  in  the  plant  stalks  rising  from  the  ground,  which  were 
produced  by  a  pointed  instrument  and  would  probably  never  be  exactly 
the  same  in  two  moulds  even  if  they  were  made  with  the  same  stamps. 
The  great  contractility  of  clay  is  shown  by  the  fact  that  in  the  mould  the 
height  of  the  column  is  5  cm.,  the  distance  from  the  altar  to  the  column, 
6.6  cm.;  in  the  fragment,  the  corresponding  measurements  are  4.7  and 
5.9  cm.  respectively. 

6.  Small  fragment  of  a  large  bowl.  Put  together  from  two  pieces.  H. 
8  cm.   L.  9.4  cm.   Reg.  88.596.   Robinson,  Cat,  no.  598.   Plate  XXIX. 

The  lower  field  is  decorated  with  a  row  of  acanthus  leaves;  above, 
waved  band;  below,  plain  moulding.  The  principal  field  has  a  plain 
moulding  at  the  bottom,  on  which  the  feet  of  the  figures  rest. 

The  only  figure  that  is  well  preserved  is  Nike,  kneeling,  in  profile  to 
left.  About  her  legs  is  wrapped  a  robe,  the  upper  part  of  her  body  is  nude. 
With  her  left  hand,  she  supports  a  tall  basket,  which  rests  on  the  ground 
in  front  of  her;  with  her  right  hand,  which  is  extended,  she  appears  to  be 
picking  up  something  from  the  ground.  Behind  her  the  hind  quarters  and 
the  forelegs  of  one  or  more  bulls  (or  cows)  can  be  made  out.  At  the  left 
is  a  part  of  another  figure,  too  mutilated  to  admit  of  interpretation. 

The  subject  appears  to  be  related  to  the  familiar  representations  of 
Nike  sacrificing  a  bull  (cf.  Smith,  J.  H.  S.,  vii,  1886,  pp.  275  ff.;  von 
Rohden-Winnefeld,  pp.  82-89;  B.  J.,  xcvi,  1895,  pp.  69/.,  pi.  iv,  9)  and 
perhaps  formed  part  of  an  extended  composition  made  up  of  several 
groups. 

(6)    BIRTH   OP   DIONYSUS 

Moulds 

7.  Nearly  half  of  a  mould  for  a  small  cup-shaped  bowl.  H.  8.5  cm. 
D.  11.4  cm.  Reg.  98.868.  Ann.  Rep.,  1898,  p.  84,  no.  32.  Plate  XXIII. 

There  is  no  lower  field,  and  the  only  decorative  pattern  is  a  band  of  con- 
ventional laurel  leaf  near  the  top  of  the  mould.  At  the  bottom,  the  ground 
is  indicated  by  irregular  horizontal  bands.     The  figures  are  more  closely 

[35] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

crowded  together  than  is  usual,  owing  probably  to  a  desire  to  work  in  all 
the  figures  that  are  regularly  introduced  in  scenes  of  this  type.  From  left 
to  right,  the  preserved  figures  are :  — 

(a)  Head  and  shoulders  of  a  woman  in  front  view,  turning  her  head  to 
look  back.  Her  hands  are  raised  and  hold  a  pair  of  cymbals,  which  she 
is  playing.  Much  of  this  figure  is  lost,  but  other  examples  show  that  except 
for  the  head  and  shoulders  the  woman  was  hidden  behind  a  curtain,  part 
of  which  appears  on  this  mould;  it  is  represented  as  if  it  were  suspended 
from  the  laurel  leaf  pattern  at  the  top  of  the  field. 

(b)  Youthful  satyr  striding  to  left.  His  only  dress  is  a  broad  girdle  of 
(ivy.'')  leaves  about  his  thighs.  His  left  hand  is  raised  and  appears  to  be 
touching  the  curtain  in  front  of  (a),  his  right  is  lowered  and  held  a  torch, 
of  which  only  the  end  has  been  preserved. 

(c)  Bearded  satyr  walking  toward  the  right.  He  wears  a  loin-cloth 
knotted  about  his  waist,  and  carries  over  his  left  shoulder  a  large  wine 
skin,  apparently  held  in  place  by  a  strap  which  passes  under  the  satyr's 
right  arm.  In  his  left  hand  he  holds  a  fillet  (or  a  purse?).  His  right  is 
raised,  and  holds  a  long  torch  over  the  head  of  the  next  figure. 

{d  and  e)  A  woman  and  a  youthful  satyr  sacrificing  a  pig.  Between 
them  is  a  small  altar,  with  flames  rising  from  it.  The  woman  is  closely 
draped  in  a  long,  sleeved  chiton;  her  hair  is  confined  by  a  net  or  veil. 
She  leans  forward  and  grasps  the  pig's  forelegs  with  her  right  hand  and 
his  hind  legs  with  her  left.  The  satyr  is  nude.  He  bends  forward  over  his 
raised  right  knee,  against  which  he  holds  the  pig's  head  with  his  left 
hand.  His  right  foot  is  drawn  up  and  crooked  behind  his  left  knee.  In 
his  right  hand  is  a  broad  sacrificial  knife,  with  which  he  is  cutting  the 
pig's  throat.  Blood  flows  from  the  pig's  neck  into  a  bowl  which  is  set  on 
the  ground  beside  the  altar.  Between  the  two  figures,  the  signature 
Tigrani.  At  the  right,  an  indeterminate  object  hangs  from  the  laurel 
leaf  pattern  at  the  top  of  the  field. 

(J)  About  half  of  a  draped  female  figure  in  front  view,  turning  her  head 
to  look  toward  the  sacrifice.  In  her  right  hand  she  carries  a  small 
pitcher.  Other  examples  show  that  she  probably  held  in  her  left  hand 
a  dish  containing  an  offering. 

The  composition  to  which  these  figures  belong  was  a  favorite  in  the 

[36] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

workshop  of  Perennius.  Numerous  fragments  of  moulds  and  vases  found 
at  Arezzo  show  its  popularity;  cf.  Pasqui,  Not.  Scav.,  1884,  pp.  370  /., 
Gruppo  ii;  Dragendorff,  B.  J.,  xcvi,  1895,  p.  61;  B.  M.  Cat.  R.  P.,  L  93 
(=  fig.  21,  p.  27);  Rizzo,  Memorie  della  R.  Accademia  di  Archeologia, 
Lettere  e  Belle  Arti  di  Napoli,  1915,  pp.  40^.,  figs.  1  and  2.  It  has  often 
been  interpreted  as  a  "Dionysiac  sacrifice,"  but  a  complete  mould  in 
the  Loeb  Collection  {Loeb  Coll.,  no.  1,  pi.  i)  shows  that  the  subject  was 
rather  the  birth  of  Dionysus;  cf.  A.  J.  A.,  xii,  1908,  pp.  64/.;  and  Loeb 
Coll.,  pp.  42  Jf.,  where  the  interpretation  is  discussed  at  some  length.  A 
slightly  dift'erent  interpretation,  as  "the  first  purification  of  the  infant 
Dionysus  at  the  hands  of  the  Sileni  and  the  Nymphs,"  has  lately  been 
proposed  by  Rizzo.  The  original  was  probably  a  silver  vase  of  the  Hellen- 
istic period.  The  group  representing  the  sacrifice  of  a  pig  is  found  on 
other  monuments;  cf.  Miiseo  Borbonico,  xiii,  pi.  xii  (marble  disc  in  Naples). 
The  cymbal  player  behind  a  curtain  appears  as  one  of  the  musicians  in 
a  banqueting  scene  on  a  vase  signed  M.  Perenn(i)  Tigrani,  which  was 
found  on  the  Furstenberg  near  Xanten  and  is  now  in  Bonn;  cf.  B.  J., 
cxxii,  1912,  pp.  421-430,  pis.  lix  and  lx.  For  the  inscription,  cf.  C.  I.  L., 
XI,  6700,  450,  vv. 

8.  Smaller  fragment  of  a  very  similar  mould,  made  with  the  same  stamps. 
H.  9  cm.    D.  11  cm.    Reg.  04.32.   Ann.  Rep.,  1904,  p.  60,  no.  8. 

At  the  top  a  conventional  laurel  leaf  pattern. 

The  figures  which  appear  on  this  mould  are:  — 

(a)  Part  of  the  bearded  satyr  with  wine  skin  and  torch;  cf.  no.  7  (c). 

(6  and  c)  Woman  and  youthful  satyr  sacrificing  a  pig;  cf.  no.  7  (d) 
and  (e).   Between  them  the  signature  Tigrani. 

(d)  Draped  female  figure  in  front  view,  turning  her  head  to  look  at  the 
sacrifice;  cf.  no.  7  (/).  This  mould  shows  that  the  woman  wears  a  chiton 
with  short  sleeves,  and  over  it  a  heavy  mantle  fastened  on  the  left  shoulder, 
and  holds  in  her  raised  left  hand  a  broad,  flat  dish  containing  a  pine  cone. 
Her  hair  is  gathered  in  a  knot  behind. 

(e)  Part  of  the  drapery  of  a  figure  leaning  to  right,  probably  the  "woman 
crowning  an  altar,"  who  appears  on  other  examples  of  this  type. 

Cf.  the  note  on  no.  7, 

[37] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(c)    HERACLES   AND   OMPHALE 

Moulds 

g.  Mould  for  a  large,  low  bowl  with  nearly  straight  sides.  Put  together 
from  five  fragments,  but  nearly  complete.  H.  10.5  cm.  D.  18.5  cm. 
Reg.  98.870.  Ann.  Rep.,  1898,  p.  85,  no.  34.  Plates  VII,  VIII. 

Practically  the  whole  surface  is  given  over  to  a  decorative  frieze  of 
large  figures.  At  the  top  there  is  a  row  of  bosses  on  a  plain  moulding  and 
below  this  a  band  of  conventional  laurel  leaf  pattern,  which  is  broken  by 
the  heads  of  all  the  figures.  At  the  bottom  of  the  field  there  is  no  pattern, 
only  an  indication  of  the  ground,  with  an  occasional  flower  or  stalk  rising 
from  it. 

The  frieze  of  figures  falls  into  two  distinct  parts :  — 

(a)  Heracles  and  attendants.  In  the  centre,  Heracles,  bearded,  and 
dressed  in  a  long  Doric  chiton  and  himation  (which  only  appears  where 
it  falls  over  his  forearms),  is  seated  in  a  chariot  drawn  by  centaurs.  The 
chariot  moves  towards  the  left,  but  Heracles's  upper  body  is  turned  so 
that  the  shoulders  are  in  front  view  and  the  head  in  profile  to  right  as  the 
hero  looks  back  toward  two  female  attendants.  The  two  centaurs  who 
draw  the  chariot  are  bearded  and  elderly  in  appearance;  each  has  his 
hands  bound  behind  his  back,  though  the  hands  are  visible  in  only  one 
case.  Of  the  harness,  only  the  broad  girth  which  passes  around  the  breast 
of  each  centaur  is  shown.  Behind  the  centaurs  appears  the  upper  part  of 
a  female  attendant;  she  is  dressed  in  chiton  and  himation;  her  right  hand 
is  extended  and  appears  to  be  holding  one  of  the  thongs  by  which  the 
hands  of  the  nearer  centaur  are  bound.  In  front  of  the  two  centaurs  a 
male  attendant  strides  to  left,  turning  about  to  look  back  at  them,  so  that 
his  shoulders  are  in  front  view  and  his  head  in  profile  to  right.  He  wears 
a  short  chiton  and  carries  a  short  whip  in  his  raised  right  hand.  His  left 
hand  is  lowered  and  grasps  two  thongs  which  disappear  behind  the  farther 
centaur  (probably  the  ends  of  the  thongs  by  which  his  hands  are  bound). 
The  two  female  attendants  who  follow  the  chariot  are  very  similar  to 
each  other  and  appear  to  have  been  made  with  the  same  stamps.  They 
are  in  profile  to  left,  dressed  in  elaborately  draped  chitons  and  himatia, 
with  a  long  veil  covering  the  hair  and  falling  over  the  shoulders.     The 

[38] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

first  carries  a  sunshade  in  both  hands,  holding  it  over  the  head  of  Heracles, 
the  second,  a  fan. 

(b)  Omphale  and  attendants.  The  grouping  resembles  that  of  (a).  In 
the  centre  Omphale  sits  in  a  chariot  drawn  by  two  centaurs;  the  chariot 
and  the  team  of  centaurs  were  made  from  the  same  stamps  as  the  equipage 
of  Heracles.  Omphale  is  nude,  except  for  the  lion's  skin  which  she  wears 
as  it  is  usually  worn  by  Heracles,  with  the  paws  knotted  about  her  neck 
and  the  head  drawn  up  over  her  hair.  In  her  left  arm  she  carries  the  club 
of  Heracles.  The  attendant  who  appears  behind  the  centaurs  is  on  this 
side  a  young  man  represented  in  front  view,  but  with  the  head  in  three- 
quarters  view  to  right,  as  he  looks  toward  Omphale.  Of  his  dress  there 
is  no  indication  except  possibly  a  bit  of  himation  passing  over  the  left 
shoulder.  In  his  left  hand  he  holds  a  large  two-handled  bowl,  his  right 
hand  is  extended  toward  the  nearer  centaur,  but  does  not  grasp  the  ends 
of  the  centaur's  thongs,  which  appear  above  and  below  the  hand  of  the 
attendant. 

The  male  attendant  who  strides  before  the  centaurs  of  Omphale  is 
largely  destroyed;  so  far  as  the  figure  is  preserved  it  is  exactly  like  the 
corresponding  attendant  of  Heracles,  and  appears  to  have  been  made  with 
the  same  stamps.  The  two  attendants  who  follow  the  chariot  are  young 
men  in  profile  to  left,  exactly  alike  in  all  details.  Each  wears  a  long  hima- 
tion as  his  only  garment,  and  carries  in  his  left  arm  a  triangular  object, 
probably  a  drinking  horn. 

This  mould  is  reproduced  (from  a  cast  in  Mimich)  in  Roscher,  Lex. 
d.  Myth.,  Ill,  col.  898,  fig.  8,  in  the  article  "Omphale,"  by  Sieveking.  A 
complete  vase  in  the  Louvre,  made  from  a  similar  mould  and  signed  by 
M.  Perennius,  is  published  by  Rayet  and  Collignon  (Histoire  de  la  Cerami- 
que  Grecque,  p.  357,  fig.  131),  who  interpret  the  subject  incorrectly  as  an 
apotheosis  of  Heracles.  Many  fragments  of  similar  representations  from 
Arezzo  are  listed  by  Pasqui,  Not.  Scav.,  1884,  pp.  371  /.,  Gruppo  iv.  A 
fragment  in  Dresden,  on  which  the  chariot  of  Heracles  is  preceded  by  a 
bearded  satyr  of  the  type  of  nos.  7  (c)  and  8  (a)  and  a  woman  holding  a  lyre, 
is  published  by  Dragendorff,  B.  J.,  xcvi,  1895,  pi.  iv,  8,  who  misinter- 
prets the  subject  (p.  63)  as  Dionysus  and  his  train.  Dragendorff  makes  the 
suggestion  that  the  original  was  a  larger  composition  from  which  the  Arre- 

[39  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

tine  potters  chose  now  one  group  of  figures,  now  another,  and  Sieveking 
carries  this  idea  further  with  the  conjecture  that  the  original  was  a  Hel- 
lenistic painting  representing  Heracles  and  Omphale  surrounded  by  their 
followers  and  the  Bacchic  thiasos.  Both  suggestions  are  possible,  but  in 
view  of  the  methods  of  the  Arretine  potters,  the  introduction  on  the  frag- 
ment in  Dresden  of  one  or  two  stock  figures  from  the  train  of  Dionysus 
caimot  be  held  to  have  much  value  as  evidence. 

10.  Fragment  of  a  mould  similar  to  no.  9,  but  not  made  with  the  same 
stamps.  H.  6  cm.  L.  9.4  cm.  Reg.  98.871.  Ann.  Rep.,  1898,  p.  86,  no.  35. 

At  the  top,  the  same  decorative  pattern  as  at  the  top  of  no.  9,  —  bosses 
on  a  raised  fillet  and  a  conventional  laurel  leaf  pattern. 

At  the  right,  the  right  arm  and  part  of  the  body  and  the  head  of  Heracles 
are  preserved.  The  female  attendant  behind  the  centaurs  is  perfectly  pre- 
served, with  head  in  three-quarters  view  to  right,  looking  toward  Heracles. 
Of  the  nearer  centaur,  most  of  the  body  is  preserved  (the  human  back 
finely  modelled,  with  heavy  muscles),  but  the  face  and  the  legs  are  broken 
away.   Between  the  centaur  and  the  attendant,  the  signature  M.  Perenni. 

Cf.  the  note  on  no.  9;  and  for  the  inscription,  C.  I.  L.,  xi,  6700,  435,  b. 


(d)  NEREIDS   WITH    THE   WEAPONS   OP   ACHILLES 

Moulds 

II.  Fragment  of  a  mould  for  a  large  bowl.  H.  6.5  cm.  L.  13  cm.  Reg. 
98.829.  Ann.  Rep.,  1898,  p.  90,  no.  64.  Plate  XXIH. 

At  the  top  of  the  field,  a  row  of  plain  bosses  and  a  conventional  laurel 
leaf  pattern,  broken  by  the  heads  of  the  figures. 

At  the  left,  the  upper  part  of  a  Nereid  riding  toward  the  left  on  a  sea- 
monster  is  preserved.  The  upper  body  is  nude,  the  legs  are  covered  by  a 
loose  mantle.  The  hair  is  gathered  in  a  knot  behind,  and  tied  with  fillets. 
The  right  hand  is  outstretched  and  holds  a  greave  by  the  top;  the  lower 
end  of  the  greave  rests  on  the  right  thigh.  At  the  right  appears  the  nude 
upper  body  of  a  Triton  to  left,  grasping  a  staff  in  his  extended  right  hand. 

The  types  for  this  subject  have  been  listed  by  Dragendorff,  B.  J.,  xcvi, 
1895,  p.  71.   An  almost  complete  mould  with  the  signature  M.  Perenni 

[  40  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Tigrani  exists  in  the  Museo  Pubblico  at  Arezzo,  but  has  never  been  pub- 
Hshed.  A  fragment  of  a  mould  signed  by  Perennius  is  pubUshed  in  Not. 
Scav.,  1884,  pi.  viii,  1  (of.  p.  376,  Gruppo  viii). 

13.  From  a  mould  for  a  large  bowl.  Considerably  worn.  H.  6.1  cm. 
L.  13.8  cm.   Reg.  13.146.   Ann.  Rep.,  1913,  p.  95. 

At  the  top  of  the  field,  a  conventional  laurel  leaf  pattern  and  a  row  of 
bosses. 

At  the  left,  the  upper  part  of  a  Nereid  riding  toward  the  left  on  a  sea- 
monster  and  holding  in  her  right  hand  a  greave  is  preserved.  The  figure  is 
similar  in  all  respects  to  the  Nereid  on  no.  11,  and  was  probably  made  with 
the  same  stamps.  The  sea-monster  also  is  similar  to  that  of  no.  11,  except 
that  the  end  of  the  tail,  which  was  impressed  by  means  of  a  separate  stamp, 
is  here  placed  at  a  different  angle.  At  the  right,  the  forepart  of  a  sea-horse 
prancing  to  left  appears.  In  front  of  his  neck  can  be  seen  part  of  a  helmet, 
which  was  doubtless  held  by  a  Nereid  mounted  on  his  back.  Between  the 
two  figures,  near  the  top  of  the  field,  the  signature  M.  Perenni. 

Cf.  the  note  on  no.  11;  and  for  the  inscription,  C.  I.  L.,  xi,  6700,  435,  b. 

(e)  DANCING   SATYRS   AND   MONADS 

Moulds 

13.  Fragment  of  a  mould  for  a  large  bowl,  with  large  figures  over  9  cm. 
high.  H.  11.7  cm.  L.  10.8  cm.  Reg.  98.843.  Ann.  Rep.,  IS98,  p.  78,  no.  7. 
Plate  XXIII. 

At  the  top,  a  row  of  bosses  and  a  conventional  laurel  leaf  pattern;  to 
the  latter  are  attached  loops  of  similar  pattern,  which  pass  behind  the 
figures. 

The  one  figure  which  is  well  preserved  is  that  of  a  dancing  maenad  in 
front  view,  with  head  thrown  back.  Her  dress  consists  of  a  thin  chiton, 
fastened  only  on  the  left  shoulder,  and  delicately  modelled  in  flying  folds. 
Loose  locks  of  hair  fall  to  her  shoulders.  Her  right  hand  is  raised  and  empty, 
her  left  is  lowered  and  holds  a  thyrsus,  with  a  mass  of  ivy  leaves  at  the 
top  and  a  fillet  tied  about  the  middle.  At  the  right,  part  of  a  figure  of  a 
bearded  satyr  dancing  to  left  is  preserved.   He  wears  a  panther  skin,  and 

[  41  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

with  his  right  hand  seizes  the  chiton  of  the  msenad.  At  the  left  of  the 
maenad,  a  tambourine  appears;  this  was  doubtless  held  by  another  dancing 
maenad. 

14.  Fragment  of  a  mould  for  a  large  bowl.  H.  8.9  cm.  L.  8.4  cm.  Reg. 
98.844.  Ann.  Rep.,  1898,  p.  79,  no.  8.  Plate  XXIII. 

At  the  top,  row  of  bosses,  tongue  pattern,  and  conventional  laurel  leaf 
pattern,  broken  by  the  figure. 

Upper  part  of  the  figure  of  a  maenad,  dancing  to  right,  with  head  thrown 
back.  The  body  is  in  three-quarters  view,  the  head  in  full  face.  She  wears 
a  Doric  chiton.  In  her  raised  left  hand  she  holds  a  snake,  which  coils 
about  her  wrist.  Behind  her  head  i\'y  leaves  appear,  probably  part  of  a 
thyrsus  which  she  carried  in  her  right  hand.  At  the  right  part  of  a  tripod 
(cf.  no.  2)  is  visible. 


(/)    SATYRS   DANCING   AND   DRINKING 

Moulds 

15.  About  one  third  of  a  mould  for  a  small  bowl.  H.  7.9  cm.  L.  13  cm. 
Reg.  98.841.  Ann.  Rep.,  1898,  p.  78,  no.  5.  Plate  XXIII. 

There  is  no  lower  field,  nor  is  the  ground  line  indicated,  except  by  very 
sketchy  stalks  rising  from  the  bottom. 

At  the  top  the  decorative  designs  are  a  row  of  bosses  and  a  conventional 
laurel  leaf  pattern,  from  which  hang  a  syrinx  and  a  cymbal.  Between  the 
figures  are  plant  stalks  rising  from  the  ground. 

From  left  to  right,  the  figures  which  are  wholly  or  partially  preserved  are : — 

(a)  Satyr  seated  to  left  on  a  rock,  playing  the  scabellum  {Kpoxme^a). 
Only  a  part  of  the  back  of  the  satyr  (with  a  bit  of  drapery  about  his  loins), 
the  left  foot,  the  scabellum,  and  the  rock  are  preserved. 

(6)  Bearded  satyr  dancing  unsteadily  to  right.  He  is  nude,  except  for  a 
bit  of  drapery  which  hangs  over  his  left  arm.  In  his  left  hand  he  carries 
a  shallow  bowl,  in  his  right  an  indeterminate  object.  In  his  hair  is  a  wreath 
(or  a  fillet).  In  front  of  him  stands  a  large  calyx  crater;  the  foot  and  the 
lower  part  of  the  body  are  ribbed;  about  the  "bell"  a  wreath  of  ivy  is 
summarily  indicated. 

I  42] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(c)  Satyr  dancing  to  left  (toward  the  crater).  The  upper  part  of  the 
figure  is  largely  destroyed,  but  enough  is  preserved  to  show  that  he  car- 
ried on  his  right  shoulder  a  wine  skin  from  which  he  was  directing  a 
stream  of  wine  into  the  mixing  bowl.     j-«  -.  ■ 

'  Various  types  of  dancing  and  drinking  satyrs  on  Arretine  vases  are 
described  by  Dragendorff,  B.  J.,  xcvi,  1895,  pp.  Gl/.  The  satyr  playing  the 
scabellum  appears  in  representations  of  the  "Birth  of  Dionysus"  (cf. 
Loeb  Coll.,  no.  1,  pi.  i)  and  also  in  banqueting  scenes  {B.  J.,  cxxii,  1912, 
pi.  Lx).  Type  (6)  and  the  crater  are  identical  with  similar  figures  on  a 
mould  in  the  British  Museum  {B.  M.  Cat.  R.  P.,  L  98  =  fig.  24,  p.  30) 
and  on  a  fragment  of  a  vase  in  the  Loeb  Collection  {Loeb  Coll.,  no.  16). 

i6.  Fragment  of  a  mould  similar  to  no.  15,  and  made  with  the  same 
stamps.  H.  7.5  cm.  L.  11  cm.  Reg.  98.840.  Ann.  Rep.,  1898,  p.  77,  no.  4. 
Plate  XXIV. 

At  the  top  the  decorative  patterns  are  a  row  of  bosses,  a  naturalistic 
grapevine,  and  a  conventional  laurel  leaf  pattern  from  which,  at  one 
point,  hangs  a  syrinx.  In  the  field  are  plant  stalks  rising  from  the  ground. 

At  the  left,  a  fragment  of  the  crater  is  preserved.  Then  follows  the 
youthful  satyr  (cf.  no.  15,  c)  with  the  wine  skin.  The  figure  here  is  well 
preserved,  only  the  feet  and  the  lower  part  of  the  legs  are  lost.  The  figure 
is  nude  and  beardless,  and  has  pointed  ears.  At  the  right,  a  large  part  of 
the  bearded  satyr  (cf.  no.  15,  b)  is  preserved.  At  the  extreme  left,  above 
the  crater  appears  the  end  of  the  signature,  NI,  =  {Peren)ni  or  {Tigra)ni. 

Cf.  the  note  on  no.  15. 

17.  Fragment  of  a  mould  for  a  large  bowl.  H.  7  cm.  L.  7.8  cm.  Reg. 
98.842.  Ann.  Rep.,  1898,  p.  78,  no.  6.  Plate  XXIV. 

At  the  top,  row  of  bosses  and  conventional  laurel  leaf  pattern,  from 
which,  at  one  point,  hangs  a  syrinx. 

Only  one  figure  is  well  preserved,  a  bald,  bearded  satyr,  in  profile  to 
right.  He  is  dressed  in  a  panther's  skin,  tied  about  his  neck,  and  holds  in 
both  hands  a  wine  skin,  from  which  he  was  evidently  pouring  wine.  Around 
his  head  is  an  ivy  wreath,  very  skilfully  modelled.  Behind  him  a  fluted 
column,  which  supports  a  disc  and  has  a  garland  twined  about  it,  and, 

[43] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

partly  concealing  pillar  and  disc,  a  lyre  and  the  right  hand  of  the  lyre 
player  appear.  At  the  extreme  right,  between  the  wine  skin  and  the  syrinx, 
the  first  letter  of  the  signature  (C)  is  preserved. 

The  inscription  should  probably  be  restored  C(erdo);  a  fragment  of  a 
similar  mould  in  the  Museo  Pubblico  at  Arezzo  is  signed  by  this  slave  of 
Perennius;  cf.  C.  /.  L.,  xi,  6700,  437,/. 

Vases 

i8.  Fragment  of  a  bowl.  H.  7.1  cm.  L.  5.8  cm.  Reg.  88.600.  Robinson, 
Cat  no.  599.   Plate  XXIX. 

At  the  top  of  the  principal  field,  egg  and  dart.  Below  this,  loops  of  con- 
ventional laurel  leaf  pattern,  tied  with  long  fillets.  Above,  part  of  the  lip, 
decorated  with  a  plain  moulding,  is  preserved. 

Of  the  principal  decoration,  only  a  part  of  one  figure  is  preserved  — ■ 
a  satyr  dancing  to  right.  His  upper  body  and  head  are  thrown  back.  In 
his  hands  he  holds  a  skin,  which  swings  out  behind  him  and  partially  con- 
ceals his  legs. 

19.  Small  fragment  of  a  bowl.  H.  5.8  cm.  L.  4  cm.  Reg.  88.605.  Robin- 
son, Cat.  no.  589.  Plate  XXIX. 

The  patterns  consist  of  a  plain  moulding  and  a  band  of  triangles  above, 
part  of  a  loop  of  conventional  laurel  leaf  pattern,  and  (between  them) 
an  elaborate  rosette. 

The  only  preserved  figure  is  a  satyr  in  front  view  carrying  a  ram  on  his 
shoulder.  His  dress  is  a  skin  knotted  in  front  of  the  neck.  His  left  arm  is 
raised,  and  his  left  hand  grasps  the  forelegs  of  the  ram;  his  right  hand  is 
lowered  and  holds  a  shepherd's  crook  (?). 

This  fragment  is  classed  with  representations  of  "Satyrs  dancing  and 
drinking"  on  the  basis  of  a  fragment  in  Dresden,  which  shows  a  similar 
figure  grouped  with  a  satyr  playing  the  double  flute  (cf .  B.  J.,  xcvi,  1895, 
p.  62,  no.  7,  pi.  IV,  2). 


[  44  ] 


A  CATALOGUE  OF  ARRETIXE  POTTERY 

(g)  SATYR   SACRIFICING   A   BULL 

Moulds 

30.  From  a  mould  for  a  large  bowl  with  flaring  lip.  Two  fragments 
joined.  H.  10.9  cm.  L.  16  cm.  Reg.  13.145.  Ann.  Rep.,  1913,  p.  95.  Plate 
XXIV. 

The  lip  is  decorated  with  an  elaborate  garland,  made  up  of  convention- 
alized leaves,  flowers,  buds,  ears  of  wheat,  and  poppy  heads.  It  is  set  off 
from  the  principal  field  by  two  plain  mouldings.  At  the  top  of  the  prin- 
cipal field  is  a  conventional  laurel  leaf  pattern. 

Of  the  decoration,  the  larger  part  of  a  group  representing  a  satyr  sac- 
rificing a  bull  is  preserved.  The  bull  was  evidently  kneeling  on  the  ground, 
forced  down  by  the  satyr,  who  presses  his  left  knee  against  the  bull's 
shoulders.  With  his  left  hand  the  satyr  pulls  back  the  bull's  head,  while  with 
his  right,  which  is  drawn  back  and  holds  a  short  thyrsus,  he  prepares  to 
deal  his  victim  the  final  blow.  The  satyr's  dress  consists  of  a  panther's  skin, 
which  passes  about  his  neck  and  flies  out  behind.  The  stamp  for  the  head 
of  the  satyr  was  impressed  twice  in  the  mould,  producing  a  double  pro- 
file. In  front  of  the  group  appear  the  upper  parts  of  three  stalks,  which 
evidently  rose  from  the  ground,  and  higher  up,  in  the  field,  is  a  group 
of  bosses;  behind  the  group  are  two  stalks  and  part  of  an  elaborate  in- 
cense burner. 


(A)  SATYRS  gathering  GRAPES  AND  TREADING  THEM  OUT 

Moulds 

31.  Nearly  complete  mould  for  a  large  bowl.  Put  together  from  three 
pieces,  but  only  small  and  unimportant  parts  are  lacking.  H.  10.3  cm. 
D.  19.2  cm.  Reg.  04.24.  Ann.  Rep.,  1904,  p.  60,  no.  7,  Plate  IX. 

The  lower  field  is  bordered  below  by  a  row  of  bosses,  and  decorated  with 
conventional  acanthus  leaves,  with  large  flowers  on  curving  stems  between 
them.  The  principal  field  is  set  off  by  a  plain  moulding  below  and  by  two 
plain  mouldings  above. 

In  the  principal  field,  the  ground  is  indicated  by  irregular  projections, 
intended  to  represent  stones.    Above  these,  and  in  some  instances  con- 

[45  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

cealing  them,  are  bunches  of  grapes  irregularly  placed.  These  were  im- 
pressed in  the  mould  after  the  principal  figures,  since  in  some  cases  they 
cover  and  distort  the  feet  of  the  figures,  in  others,  the  bunches  of  grapes 
were  evidently  so  placed  as  to  avoid  this  difficulty. 

The  field  itself  is  divided  into  two  parts  by  two  vine  branches;  these 
spring  from  the  bunches  of  grapes  which  mark  the  ground  line,  are  car- 
ried up  nearly  to  the  top  of  the  field,  and  run  in  opposite  directions  until 
they  meet  on  the  opposite  side.  The  vine  and  its  tendrils  were  apparently 
hand-drawn,  the  leaves  and  the  bunches  of  grapes  were  impressed  with 
stamps.  Between  the  two  vines  where  they  rise  from  the  ground  is  a 
herm  of  Dionysus  on  a  short  pillar.  In  the  two  fields  thus  distinguished 
the  arrangement  is  not  symmetrical;  on  one  side  are  three  satyrs  and  a 
statue  of  Priapus,  on  the  other,  three  satyrs  only.  The  detailed  descrip^ 
tion  of  the  figures  begins  with  the  herm  of  Dionysus. 

(a)  Herm  of  Dionysus  on  a  low  column.  The  column  is  fluted  except 
on  the  lower  portion,  where  three  plant  stems  appear,  as  if  they  rose  from 
the  ground.  The  capital  suggests  Corinthian  forms,  but  is  very  summarily 
treated.  The  herm  has  a  square  base  of  its  own,  and  consists  of  a  rectangu- 
lar pillar  tapering  toward  the  bottom  and  surmounted  by  a  head  of  the 
bearded  Dionysus;  at  the  sides,  near  the  top,  are  the  customary  rectangu- 
lar projections. 

(6)  Bearded  satyr  in  three-quarters  view  to  left.  The  details  are  unclear, 
but  he  apparently  has  pointed  ears  and  a  wreath  of  ivy  in  his  hair.  About 
his  waist  is  a  short  loin  cloth,  apparently  a  skin,  with  one  paw  hanging 
down  between  his  legs.  A  cord  is  tied  about  his  neck,  and  in  his  raised 
left  hand  he  holds  a  rope.  His  right  arm  hangs  at  his  side,  the  hand  con- 
cealed by  the  raised  right  knee.  The  pose  suggests  that  he  is  treading 
out  the  grapes  beneath  his  feet.  At  the  right,  the  signature  M.  Peren(ni). 

(c)  Youthful  satyr  in  profile  to  right.  He  wears  a  skin,  thrown  about 
his  shoulders  like  a  chlamys  and  fastened  on  the  right  shoulder.  Both  arms 
are  extended  and  covered  by  the  skin,  one  edge  of  which  appears  along  the 
right  arm.  In  the  sack  thus  formed  are  three  large  bunches  of  grapes, 
intended  evidently  to  suggest  a  heavy  load,  for  the  satyr  bends  backward 
as  if  he  were  carrying  a  considerable  burden. 

(d)  Youthful  satyr,  somewhat  similar  in  general  type  to  (c).   The  figure 

[  4G  ] 


A  CATALOGUE  OF  AKRETINE  POTTERY 

differs  from  (e),  however,  in  facing  left  and  in  having  a  loin  cloth  of  leaves 
worked  out  in  considerable  detail.  His  right  hand  is  raised  to  pick  a  bunch 
of  grapes  from  the  vine  above  his  head. 

(e)  Bearded  satyr,  similar  in  pose  to  (a) ,  but  differing  from  that  figure 
in  facing  to  right  and  in  being  entirely  nude;  the  lowered  arm,  also  (here 
the  left),  is  somewhat  farther  in  front  of  the  body,  so  that  the  left  hand 
can  be  seen.  In  the  hair  are  traces  of  a  wreath  of  ivy. 

(/)  Small  statue  of  Priapus  on  a  high  base.  The  base  is  triangular  and  has 
two  steps  at  the  bottom  and  a  cornice  in  four  bands.  Under  the  cornice, 
on  each  side,  hangs  a  garland,  and  about  the  centre  of  the  base  is  tied  a 
fillet.  The  god  is  represented  in  profile  to  left  and  ithj'phallic.  The  drapery- 
consists  of  a  chlamys,  which  covers  the  back  and  the  right  side,  but  leaves 
the  breast  and  the  left  side  bare.  In  his  left  hand  the  god  holds  a  long 
horn  of  plenty,  supporting  it  in  the  hollow  of  his  arm;  his  right  hand  is 
raised  and  holds  a  cantharus. 

(g)  Same  as  (d).  To  the  right  the  signature  Tigrani. 

(h)  Same  as  (e). 

This  subject  was  much  employed  in  the  workshop  of  Perennius  and 
many  examples  have  been  preserved:  cf.  B.  J.,  xcvi,  1895,  p.  62,  and 
pi.  IV,  1;  Loeb  Coll.,  nos.  17-52,  and  pi.  ii;  Not.  Scav.,  1884,  pi.  ix,  3; 
B.  M.  Cat.  R.  P.,  L58  (=  fig.  11,  p.  21);  Behn,  Rom.  Keramik,  pi.  iv; 
Holder,  pi.  xxiv,  2  and  5.  Similar  figures  are  found  on  Neo-Attic  reliefs: 
cf.  Hauser,  Die  neu-attiscJien  Reliefs,  p.  103,  35;  Museo  Borbonico,  ii, 
pi.  xi;  Arndt-Amelung,  Einzel-Verkauf,  no.  19.  The  subject  was  a  fa- 
vorite with  the  makers  of  mural  reliefs,  but  the  types  which  they  em- 
ployed are  quite  different  from  those  employed  by  the  Arretme  potters 
and  based  on  different  models;  cf.  von  Rohden-Winnefeld,  pp.  60 -09. 
For  the  signature,  cf.  C.  I.  L.,  xi,  6700,  450,  n. 

23.  Mould  for  a  cover.  Unbroken  except  for  two  small  pieces  of  the 
rim,  of  which  one  has  been  replaced,  the  other  restored  in  plaster.  All  the 
decoration  is  preserved.  D.  19.6.  Reg.  98.837.  Ann.  Rep.,  1898,  p.  77,  no. 
1.   Plate  VI. 

The  decoration  is  similar  to  that  of  no.  21,  but  was  produced  with  smaller 
stamps.    The  ground  is  indicated  by  bits  of  plain  moulding,  irregularly 

[47] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

placed.  The  grapevine  is  bordered  above  and  below  by  a  plain  moulding. 
Grapes  are  represented  on  the  ground  only  between  the  two  bearded  satyrs 
who  are  actually  treading  them  out. 

Four  grapevines  are  represented,  rising  in  pairs  at  exactly  opposite 
points.  In  each  of  the  two  fields  thus  distinguished  are  four  figures,  ar- 
ranged in  the  same  order,  namely  (from  left  to  right) :  — 

(a)  Youthful  satyr  to  right  carrying  grapes,  same  as  no.  21  (c). 

(b)  Bearded  satyr  to  right  treading  out  grapes,  same  as  no.  21  (e). 

(c)  Bearded  satyr  to  left  treading  out  grapes,  same  as  no.  21  (b)  except 
that  he  has  no  tail. 

(d)  Youthful  satyr  to  left  picking  grapes,  same  as  no.  21  (d). 

Cf.  the  note  on  no.  21.  The  exact  symmetry  of  the  two  groups  on 
no.  22  and  the  fact  that  grapes  are  represented  only  under  the  feet  of 
(6)  and  (c)  suggest  that  this  mould  reflects  accurately  the  original  com- 
position. 

33.  Fragment  of  a  mould  for  a  large  bowl.  H.  10  cm.  L.  16.7  cm. 
Reg.  98.839.  Ann.  Rep.,  1898,  p.  77,  no.  3. 

The  field  is  bordered  above  by  a  band  of  small,  plain  bosses,  and  below 
by  a  row  of  large  bosses  with  cross-hatching.  Three  figures  are  wholly 
or  partially  preserved,  all  considerably  larger  than  the  figures  on  no.  21. 
From  left  to  right,  they  are:  — 

(a)  Youthful  satyr  to  right  carrying  grapes,  same  as  no.  21  (c). 

(6)  Bearded  satyr  to  right  treading  out  grapes,  same  as  no.  21  (e). 

(c)  Legs  of  a  bearded  satyr  to  left  treading  out  grapes,  same  as  no.  21  (6). 

At  the  extreme  right  appears  the  foot  of  a  fourth  figure,  probably  the 
youthful  satyr  to  left  picking  grapes. 

Cf.  the  notes  on  nos.  21  and  22. 

Vases 

34.  Bowl  of  medium  size,  put  together  from  fragments  with  consider- 
able restoration.  The  foot  is  simple,  with  a  pair  of  mouldings  at  the 
bottom,  and  the  lip  flares  outward  and  has  at  the  top  a  hatched  moulding 
between  two  plain  mouldings.  H.  11.2  cm.  D.  16  cm.  Reg.  01.8116. 
Plate  I. 

[48] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Four  grapevines  rising  in  pairs  define  two  fields,  in  each  of  which  are 
four  figures  in  the  same  arrangement,  from  left  to  right:  — 

(a)  Youthful  satyr  to  right  carrying  grapes,  same  as  no.  21  (c). 
(6)  Bearded  satyr  to  right  treading  out  grapes,  same  as  no.  21  (e). 

(c)  Bearded  satyr  to  left  treading  out  grapes,  same  as  no.  21  (6). 

(d)  Youthful  satyr  to  left  picking  grapes,  same  as  no.  21  (d). 

On  one  side,  between  figures  (b)  and  (c),  where  two  grapevines  meet, 
the  signature  Tigran{i). 

This  arrangement  of  the  figures  is  the  same  as  that  of  no.  22.  Cf.  the 
notes  on  nos.  21  and  22,  and  for  the  signature,  C.  I.  L.,  xi,  6700,  450,  uu. 

25.  Small  fragment  of  a  bowl.  H.  8  cm.  L.  ^.5  cm.  Reg.  98.838. 
Ann.  Rep.,  1898,  p.  77,  no.  2. 

At  the  top,  a  conventional  laurel  leaf  pattern  and  a  small  fragment  of 
the  lip  with  a  hatched  moulding. 

The  preserved  part  of  the  decoration  consists  of  parts  of  two  grape- 
vines rising  from  the  ground  and  crossing,  and  at  the  right  of  them  a 
youthful  satyr  to  right  carrying  grapes,  of  the  same  type  as  no.  21  (c). 

Cf.  the  notes  on  nos.  21  and  22. 

(t)  WINGED   GENII 

Moulds 

26.  Nearly  half  of  a  mould  for  a  large  bowl  (the  foot  entirely  preserved). 
Put  together  from  seven  pieces.  H.  13.6  cm.  D.  18.5  cm.  Reg.  00.316. 
Ann.  Rep.,  1900,  p.  84,  no.  1.  Plate  X. 

The  lower  field  is  bordered  by  a  plain  moulding  above  and  below,  and 
decorated  with  a  conventional  laurel  leaf  pattern.  The  upper  field  has 
at  the  top  a  row  of  bosses,  a  spray  of  olive  leaves  and  berries,  and  a  con- 
ventional laurel  leaf  pattern;  at  the  bottom,  rough  projections  suggest 
rocky  ground. 

In  the  centre  of  the  main  field  is  a  tripod  like  the  tripods  of  no.  3,  set  on 
a  high  base,  which  resembles  the  altar  of  no.  1.  The  whole  resembles  the 
tripod  on  a  base  of  no.  2,  but  the  base  here  is  plain  except  for  loops  of 
conventional  laurel  leaf  pattern.  On  either  side  of  the  tripod  stands  a 
winged  genius.  The  one  at  the  left  stands  on  the  right  leg;  the  left  foot  is 

[  49  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

set  back  and  touches  the  ground  only  with  the  toes.  She  wears  a  loin 
cloth,  fastened  in  a  knot  at  the  waist,  and  also  a  chlamys  fastened  on  the 
right  shoulder.  She  has  wings  attached  at  the  shoulders,  and  a  tail  in  the 
form  of  an  acanthus  leaf  projects  below  the  loin  cloth.  In  her  short  hair 
a  depression  suggests  a  fillet.  In  her  left  arm  she  holds  a  large  lyre,  which 
she  is  playing  with  a  plectrum  held  in  the  right  hand.  Above  the  lyre, 
the  signature  Perenni. 

The  figure  at  the  right  of  the  tripod  is  similar.  She  faces  left,  and  rests 
her  weight  on  her  left  leg.  The  folds  of  her  loin  cloth  are  treated  archais- 
tically.  Both  arms  are  extended  and  the  hands  grasp  the  pipes  of  a  double 
flute  which  she  is  playing.  ; 

Behind  each  of  the  figures  is  a  large  incense  burner  like  the  incense 
burners  of  no.  2,  and  beyond  each  of  these  about  one  half  of  a  figure  is 
preserved.  These  are  exactly  similar  to  the  two  completely  preserved  fig- 
ures, and  were  apparently  made  with  the  same  stamps. 

A  pair  of  winged  female  figures  of  this  sort,  heraldically  placed  on  either 
side  of  an  altar,  a  candelabrum,  a  tripod,  or  an  elaborate  floral  ornament, 
is  one  of  the  commonest  types  on  the  Arretine  vases;  cf.  Not.  Scav.,  1884, 
pp.  369^.,  and  pi.  vii,  3;  Loeb  Coll.,  nos.  62-70,  pis.  ix  and  xvi;  B.  M. 
Cat.  R.  P.,  L  73  (=  fig.  14,  p.  23),  and  L  107  (=  fig.  28,  p.  33);  Holder, 
pi.  XXIV,  3;  B.  J.,  xcvi,  1895,  pp.  63/.  There  are  several  variants:  the 
figures  are  sometimes  entirely  human  except  for  a  pair  of  wings  attached 
to  the  shoulders;  sometimes,  as  here,  they  have  in  addition  the  awk- 
ward tail  in  the  form  of  an  acanthus  leaf;  sometimes  the  legs  are  bird's 
legs,  ending  in  claws  (cf.  no.  27).  Figures  of  the  last  type  are  often  iden- 
tified as  Sirens,  and  the  whole  series  is  thought  to  be  derived,  through  a 
gradual  process  of  humanization,  from  the  human-headed  bird,  which 
is  the  commonest  form  for  figures  of  the  Sirens  in  Greek  art;  cf.  Weicker, 
Der  Seelenvogel,  p.  203,  and  in  Roscher,  Lex.  d.  Myth.,  iv,  1,  col.  639. 
On  the  mural  reliefs,  where  several  types  of  such  winged  genii  are  found 
(cf.  von  Rohden-Winnefeld,  pp.  198-202),  it  is  noteworthy  that  although 
the  type  with  bird's  legs  does  not  occur,  there  is  another  type  (which  does 
not  appear  on  the  vases),  in  which  the  legs  from  the  knees  are  represented 
by  elaborate  acanthus  scrolls  (e.g.,  von  Rohden-Winncfeld,  p.  201,  fig. 
409).   For  the  inscription,  cf.  C.  I.  L.,  xi,  6700,  435,  g,  h. 

[50] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

27.  Fragment  of  a  mould  for  a  large  bowl.  H.  11.5  cm.  L.  11.3  cm. 
Reg.  98.831.   Ann.  Rep.,  1898,  p.  91,  no.  66.  Plate  XXIV. 

At  the  top  of  the  field,  egg  and  dart  and  a  row  of  bosses  on  a  plain 
moulding.   At  the  bottom,  conventional  laurel  leaf  pattern. 

At  the  left,  a  winged  genius  facing  left  is  almost  completely  preserved. 
The  figure  is  similar  to  the  genius  playing  the  flute  on  no.  26,  but  the 
legs  are  bird's  legs,  ending  in  claws.  The  wing  and  the  tail  were  added  by 
means  of  separate  stamps.  At  the  right,  part  of  the  wings  and  the  back 
of  a  similar  figure,  facing  right,  appears. 

This  fragment  is  reproduced  (from  a  cast  in  the  Albertinum  at  Dresden) 
by  Weicker,  Der  Seelenvogel,  fig.  102,  p.  203,  and  in  Roscher,  Lex.  d. 
Myth.,  IV,  1,  col.  638,  fig.  33.  Cf.  the  note  on  no.  26  and  Loeb  Coll.,  nos. 
69  and  70,  pi.  xvi. 

28.  From  a  large  mould  with  flaring  lip.  H.  10.5  cm.  L.  4.7  cm.  Reg. 
13.151.  Ann.  Rep.,  1913,  p.  95.  Plate  XXIV. 

The  lip  is  set  off  from  the  principal  field  by  a  conventional  laurel  leaf 
pattern  and  decorated  with  a  scroll  of  leaves  and  conventionalized 
flowers. 

In  the  principal  field,  the  upper  part  of  a  winged  genius  facing  right 
appears.  Enough  is  preserved  to  show  that  she  wears  the  usual  loin  cloth 
and  chlamys  and  holds  a  lyre  in  her  left  hand.  The  fingers  of  the  right 
hand  are  placed  on  the  strings.  Her  hair  was  fastened  in  a  loose  knot  at 
the  back  of  the  head.  The  hair  and  the  wing  show  very  careful  execu- 
tion. In  the  field,  at  the  left,  a  bit  of  foliage. 

Cf.  the  note  on  no.  26. 

29.  Practically  complete  mould  for  a  large  bowl  with  rolling  lip.  Put 
together  from  three  fragments,  but  only  small  and  unimportant  pieces 
are  lacking.  H.  13  cm.  D.  23.6  cm.  Reg.  04.19.  Ann.  Rep.,  1904,  p.  59, 
no.  1.    Plate  X. 

On  the  bottom  are  six  concentric  bands  of  patterns,  as  follows  (beginning 
at  the  centre):  plain  moulding;  row  of  large,  cross-hatched  bosses;  row 
of  small,  plain  bosses;  band  of  alternating  conventional  flowers  and  poppy 
heads  on  curving  stems;  band  of  laurel;  row  of  small,  plain  bosses.    The 

[51  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

lip  is  decorated  with  alternating  bell-shaped  flowers  and  pendent  lilies  (?), 
between  plain  mouldings.  The  principal  field  has  a  row  of  small,  plain 
bosses  at  the  top.  At  the  bottom  a  plain  moulding  broken  by  irregular 
projections  marks  the  ground  line. 

The  main  field  is  divided  into  three  parts  by  tripods  on  high  bases, 
exactly  like  the  tripods  on  bases  of  nos.  2  and  26.  In  each  of  the  fields  thus 
distinguished  are  two  figures  back  to  back  (or  heraldically  placed  in  rela- 
tion to  the  tripods).  Between  the  two  figures  in  each  field  are  three  flowers 
rising  on  long  stems  from  the  ground,  and  in  the  upper  part  of  the  field, 
a  tympanum  hangs  from  the  row  of  bosses  at  the  top. 

Of  the  six  figures,  the  three  which  face  right  are  winged  genii,  the 
three  that  face  left  are,  in  two  cases,  similar  genii,  in  one  case,  a  kala- 
thiskos  dancer.  All  the  figures  are  posed  on  the  toes  as  if  dancing.  The 
detailed  description  of  the  three  types  follows:  — 

(a)  Winged  female  figure  to  right.  The  left  leg  is  advanced,  the  right 
set  back.  She  is  dressed  in  a  doubly  girt  Doric  chiton,  reaching  only  to 
the  knees,  and  wears  a  necklace  with  six  pendants,  and  bracelets.  The 
hair  is  in  a  knot  behind,  and  is  confined  by  a  fillet,  which  passes  twice 
around  the  head.  Both  arms  are  extended.  The  left  hand  is  raised  to 
about  the  level  of  the  head,  and  both  hands  hold  a  garland,  with  a  single 
large  flower  in  the  middle. 

(6)  Similar  figure  facing  left,  with  right  leg  advanced.  The  dress  is  the 
same  as  that  of  (c),  except  that  she  has  a  diadem  in  the  hair,  instead  of 
the  fillet,  and  wears  earrings  with  three  pendants.  The  raised  hand  (here 
the  right)  is  on  a  level  with  the  eyes. 

(c)  Kalathiskos  dancer  facing  left,  with  right  foot  advanced.  The  lower 
body  and  the  head  are  in  profile,  the  upper  body  is  turned  so  as  to  appear 
in  three-quarters  view.  She  wears  a  short  Doric  chiton,  girt  high,  so  that 
it  does  not  reach  the  knees,  and  the  characteristic  headdress.  The  right 
arm  is  bent  at  the  elbow,  the  right  hand  is  clenched  and  rests  on  the  breast, 
the  left  arm  is  extended  behind  the  figure,  and  the  left  hand  is  open. 
Below  the  headdress,  the  hair  appears  as  a  mass  of  short  curls. 

Between  this  dancer  and  the  tripod  which  she  faces,  the  signature 
M.  Perenn{i)  Tigrani. 

Cf.  Bull.  Met.  Mus.  Art,  iv,  1909,  p.  127,  fig.  3  (signed  by  Philemon, 

[52] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

as  workman  of  Perennius) ;  Not.  Scav.,  1884,  pi.  ix,  6.  This  type  of  winged 
genius  is  very  similar  to  the  "Nike  pouring  a  libation"  of  nos.  1  and  3. 
The  same  types  are  used  in  the  stucco  reliefs  which  decorated  the  famous 
house  found  in  the  garden  of  the  Villa  Farnesina  {Mon.  dell'  Inst,  Suppl., 
pis.  XXXIV  and  xxxv).  For  the  kalathiskos  dancer,  cf.  the  note  on  no. 
31 ;  and  for  the  inscription,  C.  I.  L.,  xi,  6700,  450,  ii. 

Vases 

30.  Fragment  of  the  upper  part  of  a  large  bowl.  H.  8.6  cm.  L.  11.6 
cm.   Reg.  88.590.   Robinson,  Cat,  no.  601. 

The  lip  is  decorated  with  a  hatched  moulding  at  top  and  bottom.  At 
the  top  of  the  principal  field,  an  egg  and  dart  pattern,  with  a  conven- 
tional laurel  leaf  pattern  below. 

In  the  field,  the  upper  part  of  a  winged  genius  playing  the  double  flute 
is  preserved.  She  faces  left,  and  differs  from  the  similar  figure  on  no.  26 
only  in  that  she  has  no  chlamys  about  her  shoulders.  Behind  her  BAR, 
the  first  letters  of  the  signature  Bar  (gates). 

Bargates  was  one  of  the  slaves  of  Perennius;  cf.  nos.  66,  104,  128,  133, 
and  C.  I.  L.,  xi,  6700,  451,  and  xv,  5422. 


(j)  KALATHISKOS    DANCERS 

Moulds 

31.  Nearly  half  of  a  mould  for  a  large  cup  with  slightly  concave  sides. 
H.  14.1  cm.  D.  16  cm.  Reg.  98.845.  Ann.  Rep.,  1898,  p.  79,  no.  9.  Plate 
XI. 

The  main  field  is  decorated  at  the  top  by  a  row  of  bosses,  and,  below 
this,  by  a  band  of  conventional  laurel  leaf  pattern,  broken  by  the  heads 
of  the  figures.  To  the  laurel  leaf  garland,  loops  of  similar  pattern,  which 
pass  behind  the  figures,  are  attached  by  large  fillets. 

Two  figures  dancing  toward  the  left  are  perfectly  preserved.  Each 
is  dressed  in  a  high-girt  Doric  chiton,  modelled  in  very  graceful  folds, 
and  wears  on  her  head  the  basket-like  kalathos  from  which  these  figures 
are  named.  The  one  at  the  right  has  both  hands  clenched  and  resting  on 
the  breast.  Behind  her  a  bit  of  the  drapery  of  another  figure  is  preserved, 

[53  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

and  in  front  of  her  are  three  flowers  on  slender  stalks.  The  figure  at 
the  left  has  her  right  hand  clenched  and  placed  on  her  breast,  her  left 
hand  is  open  and  extended  behind  her.  In  front  of  her  three  flowers  on 
slender  stems  rise  from  the  ground  line,  and  a  cymbal  decorated  with 
knotted  fillets  hangs  from  the  laurel  leaf  pattern  at  the  top  of  the  field. 
Above  the  laurel  leaf  pattern  at  this  point  is  the  signature  Tigrani.  At 
the  extreme  left,  a  small  part  of  a  fourth  figure,  with  left  arm  raised  and 
hand  open,  is  visible. 

The  kalathiskos  dancers  form  one  of  the  commonest  subjects  on  Arre- 
tine  vases  of  Class  I.  A  list  of  the  different  types  is  given  by  Dragen- 
dorff,  B.  J.,  xcvi,  1895,  pp.  58-60.  For  published  examples,  cf.  Loeb  Coll., 
nos.  53-61,  with  pis.  iii,  ix,  and  xvi;  Bull.  Met.  Mus.  Art,  vi,  1911,  p. 
30,  fig.  1;  Not.  Scav.,  1884,  pi.  vii,  2;  Walters,  ii,  pi.  lxvi,  5  (=  British 
Museum  L  108) ;  Holder,  pi.  xxiv,  4.  The  same  types  are  found  on  marble 
reliefs  (cf.  Clarac,  pi.  167  and  168;  Zoega,  Bassirilievi,  i,  pis.  xx,  xxi; 
Kekule,  Die  gr.  Skulptur,^  pp.  140  /.)  and  on  mural  reliefs  in  terra-cotta 
(cf.  von  Rohden-Winnefeld,  pp.  10-12,  figs.  11-13,  and  pis.  xviii  and 
cvii,  1).  Exhaustive  lists  of  examples  in  different  materials  were  made 
by  Stephani  {Compte  Rendu,  1865,  pp.  60  Jf.).  Among  the  examples  dis- 
covered since  these  lists  were  made,  the  most  striking  is  the  group  of 
three  figures  which  form  a  part  of  the  famous  "Acanthus  Column," 
found  by  the  French  excavators  at  Delphi  (cf.  Homolle,  B.  C.  H.,  xxi, 
1897,  pp.  603-614,  and  Fouilles  de  Delplies,  iv,  pis.  lx-lxii,  and  Album, 
pi.  xv).  It  seems  clear  that  all  the  types  were  derived  from  some  one 
original,  but  no  generally  accepted  theory  has  yet  been  proposed.  Furt- 
wangler  (Masterpieces,  pp.  438/.)  argued  that  they  go  back  to  the  "  sal- 
tan tes  Lacsenae"  of  Callimachus  (Phny,  A^.  H.,  34,  92),  but  this  cannot  be 
proved.  More  recently,  Deonna  has  argued  (Revue  de  Vhistoire  des  re- 
ligions, Lxviii,  1913,  pp.  350-357)  that  the  kalathiskos  dancers  were  de- 
rived ultimately  from  Egypt.  The  Arretine  potters  probably  drew  their 
immediate  inspiration  from  metal  vases  of  the  Hellenistic  period.  For 
the  inscription,  cf.  C.  I.  L.,  xi,  6700,  450,  vv. 

32.  Unbroken  mould  for  a  bowl  of  medium  size.  H.  9.3  cm.  D.  17.8 
cm.  Reg.  04.33.  Ann.  Rep.,  1904,  p.  60,  no.  3.  Plate  XI. 

[  54  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

The  lower  field  is  divided  from  the  principal  field  by  a  plain  moulding 
and  has  at  the  bottom  a  row  of  bosses.  It  is  decorated  with  alternating  pal- 
mettes  and  flowers  on  curving  stems.  At  the  top  of  the  principal  field, 
a  row  of  bosses. 

The  principal  field  is  divided  into  four  parts  by  four  large  ornaments, 
made  with  small,  separate  stamps.  Each  begins  at  the  bottom  with  a  large 
conventional  leaf,  flanked  on  each  side  by  a  pointed  staff  with  spirals, 
which  rises  obliquely  into  the  field.  Above  the  leaf,  in  order,  come  a  small 
double  flower,  a  large,  bell-shaped  flower,  a  pair  of  large,  ragged  flowers, 
and  a  statuette  on  a  low  base.  The  statuette  represents  a  male  figure 
(Dionysus?)  in  front  view,  standing  with  right  leg  firm  and  left  leg  bent 
at  the  knee  and  placed  to  one  side.  He  wears  a  robe  which  reaches  only 
to  the  knees  and  one  edge  of  which  he  holds  above  his  left  shoulder  in  his 
raised  left  hand.   His  right  hand  is  lowered  and  holds  a  bunch  of  grapes. 

In  the  four  fields  thus  distinguished  are  four  exactly  similar  female 
dancers,  in  profile  to  left.  They  are  posed  on  tiptoe,  with  right  leg  ad- 
vanced and  left  set  back.  The  dress  consists  of  a  Doric  chiton,  which 
reaches  only  to  the  knees  and  flies  out  behind  in  carefully  modelled  folds. 
The  arms  are  bent  at  the  elbows,  the  hands  rest  on  the  breast.  On  the  heads 
are  slight  indications  of  kalathoi.  In  the  field,  at  exactly  opposite  points, 
are  the  signatures,  M.  Peren(ni)  and  Tigrani. 

The  figures  appear  to  have  been  made  with  a  stamp  from  which  the 
upper  part  had  been  removed,  so  that  only  slight  traces  of  the  charac- 
teristic headdress  remained.  For  the  signature,  cf.  C.  I.  L.,  xi,  6700, 
450,  n. 

Vases 

33.  Tall  cup  with  one  handle.  Put  together  from  four  pieces,  and  con- 
siderably restored.  The  top,  to  judge  from  the  broken  edges,  flared  out- 
ward. H.  11.7  cm.  D.  at  bottom,  7.5  cm.;  at  top  (as  restored),  11.3  cm. 
Reg.  88.587.  Robinson,  Cat.,  no.  579.  Plate  II. 

The  main  field  is  defined  at  top  and  bottom  by  plain  mouldings.  It 
was  divided  into  four  parts  by  four  elaborate  conventional  ornaments, 
of  all  of  which  considerable  parts  are  preserved.  These  ornaments  consisted 
in  each  case  of  a  large  acanthus  leaf,  flanked  by  smaller,  pointed  leaves 

[55  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(with  strongly  marked  central  ribs),  which  rise  obliquely  into  the  field. 
Above  the  acanthus  leaf  is  a  conventional  flower  and  a  small  leaf,  from 
which  spring  three  ribbed  calyx  ornaments,  one  rising  vertically,  the 
other  two  obliquely.  From  the  ends  of  the  latter  rise  long  leaves  with 
serrated  edges.  The  central  calyx  ornament  is  surmounted  by  an  eight- 
petalled  flower  on  a  short  stem  and  by  pointed  staffs  with  rings  which  rise 
obliquely  into  the  field.  Above  one  of  these  complicated  ornaments  is  the 
signature  Rasini  Memmi,  the  two  parts  separated  by  the  eight-petalled 
flower.  Over  another,  and  partly  obliterating  it,  is  attached  the  handle, 
which  has  the  form  of  a  simple  loop  with  a  marked  central  groove  divided 
at  the  lip  into  two  short  fillet-like  bands.  The  juncture  of  the  bottom  of 
the  handle  with  the  body  of  the  vase  is  covered  by  a  small  disc,  on  which 
are  two  parrots,  perched  on  a  small  crater. 

In  each  of  the  four  fields  defined  by  the  conventional  ornaments  was 
a  kalathiskos  dancer.  Of  the  four  figures,  one  is  completely  preserved, 
and  two  others  are  very  nearly  complete.  The  types  (beginning  at  the 
right  of  the  handle)  are  as  follows:  — 

(a)  Dancer  moving  to  right  with  head  in  profile  and  shoulders  nearly 
in  front  view  (the  lower  part  of  the  figure  is  lost).  She  wears  a  high-girt 
Doric  chiton  and  the  characteristic  headdress,  here  summarily  indicated 
by  parallel  grooves.  Both  arms  are  bent  at  the  elbow,  the  hands  are 
placed  on  the  breast. 

(6)  Dancer  in  profile  to  right,  standing  on  tiptoe.  She  wears  a  Doric 
chiton,  girded  high,  so  that  it  does  not  reach  the  knees,  and  the  char- 
acteristic headdress.  Both  arms  are  extended  and  bent  at  the  elbow  and 
the  forearms  are  raised  vertically,  so  that  the  hands  rise  above  the  level 
of  the  head. 
;    (c)  Same  as  (6). 

These  figures  are  distinguished  from  those  of  nos.  31  and  32  by  the 
different  form  of  the  kalathos;  cf.  B.  J.,  xcvi,  1895,  p.  59,  fig.  14  (from  a 
vase  found  at  Capua) ;  Loeb  Coll.,  nos.  56  and  58,  pi.  xvi.  On  Roman  mural 
reliefs  similar  dancing  figures  appear  on  either  side  of  a  statue  of  Pallas; 
cf.  von  Rohden-Winnefeld,  pp.  10-12,  figs.  11-13,  and  pis.  xviii  and 
cvii,  1.  For  the  signature,  cf.  C.  7.  L.,  xi,  6700,  552. 

[56] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(k)  SYMPOSIA 

Moulds 

34.  Complete  mould  for  a  large  bowl.  Put  together  from  two  pieces,  but 
uninjured  except  for  chipping  at  the  edges  of  the  break.  H.  10.6  cm. 
D.  20  cm.  Reg.  04.23.  Ann.  Rep.,  1904,  p.  61,  no.  11.  Plates  XII, 
XIII. 

The  lower  field  is  set  off  from  the  main  field  by  a  plain  moulding,  and 
has  a  plain  moulding  below.  It  is  decorated  with  alternating  rosettes 
and  poppies  on  curving  stems,  which  rise  from  the  moulding  at  the  bot- 
tom. The  lower  end  of  each  stem  is  covered  by  a  small  rosette.  At  the 
top  of  the  main  field,  a  very  delicate  grapevine  runs  around  the  mould; 
it  is  bordered  by  a  row  of  plain  bosses  above  and  by  a  conventional  laurel 
leaf  pattern  below. 

In  the  main  field,  four  pairs  of  figures  are  represented,  in  each  case  a 
man  and  a  woman  reclining  on  a  couch.  The  couches  are  all  similar,  and 
were  evidently  made  with  the  same  stamps,  the  body  of  the  couch,  the 
legs,  and  the  head  and  foot  being  impressed  in  the  mould  with  small, 
separate  stamps.  The  groups  of  figures,  however,  show  great  variety,  and 
no  two  are  exactly  alike.  The  description  begins  with  the  group  at  the 
left  of  the  inscription:  — 

(a)  The  man  reclines  on  a  cushion,  and  has  his  left  arm  wrapped  in  his 
'  mantle.  The  upper  part  of  his  robe  has  slipped  from  his  shoulders,  so  that 
his  breast,  which  is  almost  in  front  view,  is  uncovered.  His  right  arm  is 
extended  behind  the  woman's  back.  He  has  a  fillet  with  long  ends  tied 
about  his  head.  The  woman's  pose  is  similar  to  that  of  the  man.  She 
reclines  on  her  left  arm  and  turns  to  look  at  her  companion,  so  that  her 
upper  body  is  in  front  view.  She  wears  a  long,  high-girt  chiton,  which 
covers  her  whole  body  except  the  right  arm  and  shoulder  and  the  upper 
part  of  the  left  arm.  In  her  left  hand  she  holds  a  wreath.  Her  left  knee  is 
raised  and  supports  a  lyre,  which  she  holds  in  her  extended  right  hand. 
Above  the  foot  of  the  couch,  a  small  Cupid  flies  toward  the  right.  His 
upper  body  is  turned,  so  that  the  shoulders  and  the  head  are  in  front  view. 
He  has  a  robe  thrown  loosely  over  his  shoulders  and  hanging  over  his 
arms.    His  left  hand  is  raised,  his  right  is  lowered,  and  holds  a  bell  (or  a 

[57] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

bell-shaped  flower).     Between  this  group  and  the  next  is  the  signature 
Nicephor{us)  Perenni. 

(b)  The  man  has  fallen  asleep,  with  his  right  arm  thrown  over  his  head 
and  his  left  hanging  down  and  pressing  into  a  large  cushion.  Only  a  small 
part  of  his  robe  is  visible,  covering  his  right  side.  The  woman  has  raised 
herself  on  her  left  arm  and  looks  over  the  man's  head  toward  the  group 
on  the  next  couch  to  the  right.  She  wears  a  thin  chiton,  which  has  slipped 
down  from  her  shoulders,  leaving  the  right  breast  uncovered.  Her  right 
arm  is  raised,  but  the  hand  is  empty.  A  depression  in  her  hair  suggests  a 
fillet.  Above  and  at  the  left  is  a  lyre  (with  the  body  marked  to  suggest  a 
tortoise  shell),  which  was  thought  of,  perhaps,  as  suspended  on  the  wall. 
Beyond,  a  curtain  is  suspended  from  the  laurel  leaf  pattern  and  from  a 
pole,  and  from  behind  this  a  girl  gazes  at  the  pair  on  the  couch;  only  her 
head  and  her  right  shoulder  and  arm  are  visible. 

(c)  The  man  turns  his  head  sharply  to  the  right,  as  if  to  look  at  the 
group  on  the  next  couch.  Only  a  small  part  of  his  body  is  visible;  there  is 
no  indication  of  drapery.  Under  his  left  arm  is  a  large  cushion,  doubled 
over.  The  woman  turns  toward  the  man,  pressing  her  left  hand  against 
the  couch,  and  grasps  his  chin  with  her  right.  He  seizes  her  forearm  with 
his  left  hand.  She  wears  a  thin  chiton  which  does  not  cover  her  right 
shoulder.  Her  hair  is  confined  by  a  veil  (?),  and  on  her  wrists  are  brace- 
lets. Under  her  left  arm  a  cushion  appears.  Above  and  at  the  left  is  a 
Cupid  dancing  to  right,  exactly  similar  to  the  Cupid  associated  with  group* 
(a).  In  front  of  him  a  bell  (or  bell-shaped  flower)  hangs  from  the  laurel 
leaf  pattern,  and  behind  him  a  tympanum  is  similarly  suspended. 

{d)  The  man  reclines  on  a  cushion  at  the  head  of  the  couch.  His  robe 
passes  over  his  right  shoulder  and  is  wound  about  his  left  arm,  which 
rests  on  the  cushion.  In  his  hair  is  a  fillet,  with  long  ends.  In  his  left  hand 
he  holds  a  vase  or  box,  from  which  he  appears  to  be  removing  the  cover 
with  his  right.  The  female  figure  is  the  same  as  the  female  figure  of 
group  (a).  Above  and  at  the  left  a  wreath  is  suspended  from  the  laurel 
leaf  pattern. 

An  incomplete  list  of  the  types  which  are  used  in  representations  of 
symposia  is  given  by  Dragendorfl,  B.  J.,  xcvi,  1895,  p.  72.  In  the  Loeb 
Collection  there  is  a  complete  mould  signed  by  Nicephorus  which  is  prac- 

[58  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

tically  a  replica  of  no.  34,  though  the  figures  are  on  a  smaller  scale  (cf. 
Loeh  Coll.,  no.  76,  pi.  iv).  A  mould  in  the  Metropolitan  Museum,  New 
York,  also  designed  by  Nicephorus,  differs  from  no.  34  only  in  minor  de- 
tails (cf.  Bull.  Met.  Mus.  Art,  iv,  1909,  p.  127,  fig.  4).  Other  examples 
show  many  variations:  cf.  nos.  36-59;  Not.  Scav.,  1884,  pi.  ix,  4  and  5;  B.  J., 
xcvi,  1895,  pi.  IV,  10  and  11;  B.  J.,  cxxii,  1912,  pi.  lix;  Loeb  Coll.,  nos. 
77-84,  pis.  IX,  X,  and  xvi.  For  the  inscription,  cf.  C.  I.  L.,  xi,  6700, 444,  b, 

35.  Complete  mould  for  a  bowl  very  similar  to  no.  34,  made  by  the 
same  potter,  with  the  use  of  many  of  the  same  stamps.  H.  9.7  cm.  D. 
21.3  cm.  Reg.  04.22.  Ann.  Rep.,  1904,  p.  60,  no.  10. 

The  lower  field  is  undecorated.  It  is  bordered  below  by  a  row  of  plain 
bosses,  and  set  off  from  the  main  field  by  a  band  of  rosettes  between 
plain  mouldings.  The  main  field  is  decorated  at  the  top  with  a  row  of  plain 
bosses  and  a  band  of  eggs.  Just  below  the  latter  a  band  of  conventional 
laurel  leaf  pattern  runs  around  the  mould;  this  is  broken  by  the  heads  of 
some  of  the  figures,  and  from  it,  at  intervals,  various  objects  are  suspended. 

The  principal  field  is  divided  into  two  parts  by  two  short  pillars  of 
Corinthian  type;  each  is  fluted  in  its  upper  portion  and  has  two  plant 
stalks  rising  from  the  ground  at  the  base.  On  top  of  each  pillar  is  a 
dancing  Cupid  exactly  similar  to  the  Cupids  on  no.  34,  and  made  with 
the  same  stamps.  In  each  of  the  two  fields  thus  set  off  are  two  pairs  of 
figures  reclining  on  couches,  made  with  the  same  stamps  as  the  similar 
groups  of  no.  34,  as  follows:  — 

(a)  Same  as  no.  34  (e).  Above  the  group  is  the  inscription,  Nicephor(us) 
Perenni,  and  above  this,  attached  to  the  laurel  leaf  pattern,  a  bell-shaped 
flower,  a  lyre,  and  a  large  wreath  with  fillets. 

(6)  Same  as  no.  34  (6).  Above,  attached  to  the  laurel  leaf  pattern, 
a  large  wreath  with  fillets,  a  lyre,  and  a  Pan's  pipe. 

(c)  Same  as  no.  34  (a).  Above,  attached  to  the  laurel  leaf  pattern,  a 
small  bell-shaped  flower  and  a  large  wreath  with  fillets. 

{d)  Same  as  no.  34  (6).  Above,  attached  to  the  laurel  leaf  pattern,  a 
lyre  (with  the  body  marked  to  suggest  a  tortoise  shell),  a  bell -shaped 
flower,  and  a  wreath  with  fillets. 

Cf.  the  note  on  no.  34. 

[59] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

36.  From  a  mould  for  a  large  bowl.  Put  together  from  two  small 
fragments.   H.  6  cm.   L.  9.5  cm.   Reg.  13.152.   Ann.  Rep.,  1913,  p.  95. 

At  the  top  of  the  field,  a  conventional  laurel  leaf  pattern  and  a  row 
of  bosses.  In  the  field,  the  right  shoulder  and  part  of  the  torso  and  legs 
of  a  female  figure  reclining  to  left  but  turning  to  look  toward  the  right. 
Below  is  part  of  a  wreath,  which  the  woman  apparently  held  in  her  left 
hand.  Above,  in  the  field,  a  larger  wreath.  The  pose  is  similar  to  that 
of  the  female  figures  of  nos.  34  (c)  and  35  (a),  but  not  the  same. 

37.  Fragment  of  a  mould  for  a  large  bowl.  H.  7.5  cm.  L.  15.8  cm.  Reg. 
98.861.  Ann.  Rep.,  1898,  p.  82,  no.  25.  Plate  XXIV. 

At  the  top  of  the  field  are  a  row  of  plain  bosses  and  a  conventional  laurel 
leaf  pattern.   In  the  field,  parts  of  four  figures  appear. 

In  the  centre,  the  larger  part  of  two  figures,  a  man  and  a  woman,  is 
preserved.  The  man  reclines  (on  a  couch?)  facing  left,  resting  on  his  left 
elbow.  He  is  nude,  except  for  a  mantle  which  is  draped  about  his  legs  and 
his  left  forearm.  In  his  hair  is  a  broad  fillet.  His  right  arm  is  raised,  and 
with  his  right  hand  he  touches  the  head  of  the  woman,  who  is  seated  in 
front  of  him,  also  facing  left,  so  that  her  back  is  toward  her  companion. 
She  appears  to  be  weeping,  resting  her  head  on  her  hands.  The  upper 
part  of  her  body  is  nude,  except  for  a  breast-band,  her  legs  are  covered  by 
a  robe.  Her  hair  is  confined  by  a  veil.  On  her  left  wrist  is  a  bracelet. 
Beyond  her  (to  left)  is  the  inscription  M.  Peren{ni)  Tigrani  (the  stamps 
arranged  in  the  form  of  a  letter  T) ,  and  beyond  the  inscription,  the  upper 
part  of  a  bearded  figure,  seated  to  left  and  playing  a  double  flute.  He  is 
nude  except  for  a  loin  cloth  (or  a  robe  draped  about  the  thighs),  knotted  in 
front.  In  his  hair  is  a  wreath  of  ivy  leaves.  Finally,  at  the  right  of  the 
fragment  are  the  head  and  shoulders  of  a  nude  figure  of  the  type  of  no. 
34  (d). 

Cf.  Loeb  Coll.,  no.  78,  pi.  ix;  Not.  Scav.,  1884,  pi.  ix,  4;  and  for  the  same 
figures  differently  combined  on  a  vase  signed  M.  Perenn(i)  Tigrani, 
B.  J.,  cxxii,  1912,  pi.  Lix.   For  the  signature,  cf.  C.  I.  L.,  11,  4971,  7,  d. 

38.  Fragment  of  a  mould  for  a  large  bowl.  H.  8  cm.  L.  10.5  cm.  Reg. 
98.866.  Ann.  Rep.,  1898,  p.  83,  no.  30.  Plate  XXV. 

[  60] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

On  a  large  couch,  of  which  one  leg  is  partly  preserved,  a  man  and  a 
woman  recline.  Of  the  woman's  figure,  only  the  head  and  the  breast  are 
preserved  (at  the  right-hand  side  of  the  fragment).  She  is  fully  draped  and 
was  evidently  reclining  on  her  left  elbow,  facing  left.  The  figure  of  the 
man  is  almost  perfectly  preserved.  He  is  posed  in  an  unusual  attitude, 
as  he  turns  to  look  toward  the  woman  and  stretches  out  his  right  hand 
toward  her,  supporting  his  weight  on  his  left  forearm,  which  rests  on  a 
large  cushion,  doubled  over.  In  his  left  hand,  which  is  visible,  he  holds  a 
wreath  or  a  hea\'y  fillet.  He  wears  a  large  robe,  which  has  slipped  down 
from  his  right  shoulder,  leaving  his  whole  right  side  uncovered,  and  falling 
over  the  edge  of  the  couch  in  heavy  folds. 

39.  About  one  half  of  a  large  mould.  Put  together  from  fourteen  frag- 
ments, considerable  parts  missing.   H.  10  cm.   D.  about  19  cm. 

At  the  top  of  the  principal  field,  conventional  laurel  leaf  pattern,  egg 
and  dart,  and  row  of  bosses;  at  the  bottom,  plain  moulding  and  band  of 
pairs  of  concentric  circles.  The  field  was  divided  into  four  parts  by  youth- 
ful ithyphallic  herms  (hair  bound  by  a  fillet),  set  on  small  piles  of  stones. 
Two  of  these  and  part  of  a  third  are  preserved.  The  figures  have  one  hand 
resting  on  the  hip,  the  other  raised;  in  their  raised  hands,  they  hold  loops 
of  conventional  laurel  leaf  pattern,  which  pass  behind  the  groups  in  the 
four  fields.  Of  these  groups  three  are  partially  preserved,  all  erotic  in 
character  (in  two  cases  a  man  and  a  woman,  in  the  other  two  men). 
The  couches  are  more  elaborate  than  usual ;  the  one  which  is  well  preserved 
has  a  high,  curving  head,  ending  in  the  head  of  a  satyr.  Very  careful 
modelling  throughout. 

40.  Fragment  of  a  mould  for  a  large  bowl.  H.  10.7  cm.  L.  19  cm.  Reg. 
98.863.   Ann.  Rep.,  1898,  p.  83,  no.  27. 

On  the  flaring  lip,  a  frieze  of  large  calyx-shaped  flowers  alternating 
with  pendent  flowers  which  resemble  lilies.  Below  this  two  plain  mouldings, 
and  at  the  top  of  the  principal  field,  a  conventional  laurel  leaf  pattern. 

Of  the  figures,  the  greater  part  of  an  erotic  group  representing  a  young 
man  and  a  woman  on  a  couch  is  preserved.  Above  and  to  the  left,  the 
signature  M.  Peren(ni)  Tigrani. 

For  the  signature,  cf.  C.  I.  L.,  xi,  6700,  450,  n. 

[61  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

41.  Fragment  of  a  mould  for  a  large  bowl.  H.  8.5  cm.  L.  10  cm.  Reg. 

98.864.  Ann.  Rep.,  1898,  p.  83,  no.  28.  Plate  XXV. 

At  the  top  of  the  main  field,  a  row  of  plain  bosses  and  a  band  of  double 
rosettes,  from  which  are  hung  a  loop  of  conventional  laurel  leaf  pattern 
and  (at  the  left  side  of  the  fragment)  a  heavy  wreath  with  a  fillet  twisted 
around  it. 

Of  the  figures,  the  only  portion  that  is  well  preserved  is  part  of  the  same 
group  that  appears  on  no.  40,  made,  apparently,  with  the  same  stamps. 
At  the  left,  the  end  of  a  second  couch  and  the  left  elbow  of  a  reclining 
figure  appear. 

42.  Fragment  of  a  mould  for  a  large  bowl.   H.  7.5  cm.  L.  7  cm.   Reg. 

98.865.  Ann.  Rep.,  1898,  p.  83,  no.  29. 

At  the  top  of  the  field  is  a  well-executed  grapevine  between  a  row  of 
plain  bosses  (above)  and  a  conventional  laurel  leaf  pattern  (below). 

In  the  field  and  projecting  into  the  grapevine  above,  part  of  an  erotic 
group  is  preserved,  including  the  head  and  the  breast  of  a  male  figure 
and  the  head  and  the  left  leg  of  a  female  figure.  The  modelling  throughout 
is  excellent.  Both  figures  have  the  hair  bound  with  a  fiUet,  the  man's 
fillet,  especially,  being  very  broad. 

Cf.  Not.  Scav.,  1884,  pi.  ix,  2  (apparently  made  from  the  same  stamps); 
Loeb  Coll.,  nos.  80-82,  pi.  x. 

43.  Fragment  of  a  mould  for  a  large  bowl.  H.  8.6  cm.  L.  9.8  cm. 

At  the  top  of  the  main  field,  a  band  of  rosettes  with  cross-hatched  centres 
between  a  row  of  bosses  and  a  plain  moulding  (above)  and  a  conven- 
tional laurel  leaf  pattern  (below). 

Of  the  figures,  the  only  parts  preserved  are  the  head  and  the  left  shoulder 
of  a  young  man  and  the  head  and  the  torso  of  a  woman  from  a  group 
exactly  similar  to  that  of  no.  42,  and  made,  apparently,  with  the  same 
stamps. 

44.  Fragment  of  a  mould  for  a  large  bowl.  H.  7.2  cm.  L.  7.9  cm.  Reg. 
98.855.   Ann.  Rep.,  1898,  p.  81,  no.  19.   Plate  XXV. 

At  the  top,  a  row  of  plain  bosses  and  a  conventional  laurel  leaf  pattern. 

[  62] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Parts  of  three  figures  are  preserved.  In  the  centre  is  a  youthful  lyre 
player  in  profile  to  right,  completely  preserved  except  for  the  left  foot. 
He  stands  on  his  right  leg,  his  left  is  set  back,  and  the  left  foot  evidently 
touched  the  ground  only  with  the  toes.  He  wears  a  long  chlamys,  fas- 
tened on  the  right  shoulder  and  falling  in  folds  almost  to  the  ground.  A 
depression  in  the  hair  suggests  a  fillet.  He  holds  the  lyre  in  his  left  arm, 
and  strikes  the  strings  with  a  plectrum  held  in  his  right  hand.  At  the 
left,  the  head  and  the  left  shoulder  of  a  man  reclining  on  a  large  cushion 
of  the  t}npe  of  no.  34  (c)  can  be  seen.  At  the  right  of  the  central  figure 
the  knees  and  the  ends  of  the  flutes  of  a  flute-player  seated  to  left  are 
preserved. 

Cf.  the  note  on  no.  49. 

45.  Fragment  of  a  mould  for  a  large  bowl.  H.  8  cm.  L.  7.6  cm.  Reg. 
98.858.    Ann.  Rep.,  1898,  p.  82,  no.  22.   Plate  XXV. 

At  the  top,  row  of  plain  bosses  above  an  egg  and  dart. 

At  the  left-hand  side  of  the  fragment,  about  one  half  of  a  youthful  lyre- 
player  exactly  similar  to  the  lyre-player  of  no.  44,  but  somewhat  larger 
in  scale,  appears.  At  the  right,  a  seated  flute-player  is  almost  completely 
preserved.  She  is  seated  on  a  chair  in  profile  to  left,  the  upper  body  nude, 
the  lower  body  covered  by  the  folds  of  an  ample  robe.  She  wears  a  neck- 
lace with  long  pendants.  Her  hair  is  tied  in  a  loose  knot  behind.  Both 
hands  are  raised  and  hold  the  two  flutes,  which  are  carefully  executed. 
Behind  her  head  is  a  bit  of  drapery. 

Cf.  the  note  on  no.  49.  A  bowl  in  Bonn  (B.  J.,  cxxii,  1912,  p.  424,  fig. 
3,  and  pi.  lx)  suggests  that  the  drapery  at  the  right  of  the  flute-player 
was  part  of  a  curtain  behind  which  stood  a  woman  playing  a  pair  of 
cymbals. 

46.  Fragment  of  a  mould  for  a  large  bowl.  H.  7  cm.  L.  7  cm.  Reg. 
98.860.  Ann.  Rep.,  1898,  p.  82,  no.  24. 

At  the  top  of  the  field,  a  row  of  bosses,  a  plain,  flat  moulding,  and  a  con- 
ventional laurel  leaf  pattern. 

At  the  right-hand  side  of  the  fragment,  about  one  half  of  a  seated  flute- 
player,  very  similar  to  the  seated  flute-player  of  no.  45,  but  not,  appar- 

[  63] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

ently,  made  with  the  same  stamps,  is  preserved.   At  the  left  an  ear  of 
wheat,  three  buds,  and  a  large  pine  cone  fill  the  field. 
Cf.  the  note  on  no.  49. 

47.  Fragment  of  a  mould  for  a  large  bowl.   H.  8  cm.   L.  8  cm.   Reg, 

98.856.  Ann.  Rep.,  1898,  p.  81,  no.  20.  Plate  XXV. 

At  the  top,  a  row  of  plain  bosses  and  a  conventional  laurel  leaf  pattern. 

At  the  right,  a  youthful  lyre-player,  of  the  same  type  as  the  lyre-player 
of  nos.  44  and  45,  is  almost  completely  preserved.  At  the  left  is  a  youth- 
ful flute-player  (perhaps  a  satyr).  He  is  in  front  view,  with  his  left  arm 
extended  across  the  body  to  grasp  one  of  the  flutes.  His  only  garment  is 
a  skin,  which  is  thrown  over  his  shoulders  and  knotted  at  the  neck.  In 
the  field  a  hastily  executed  plant  stem  rises  from  the  ground. 

Cf.  Loeb  Coll.,  no.  85,  pi.  x,  and  the  note  on  no.  49. 

48.  Fragment  of  a  mould  for  a  large  bowl.   H.  5  cm.  L.  6.7  cm.   Reg. 

98.857.  Ann.  Rep.,  1898,  p.  82,  no.  21. 

At  the  top,  a  row  of  plain  bosses  and  an  egg  and  dart.' 
In  the  field,  the  upper  part  of  a  youthful  lyre-player  and  a  small  piece  of 
one  of  the  flutes  of  a  female  flute-player  are  preserved. 
Cf .  the  note  on  no.  49. 

49.  Fragment  of  a  mould  for  a  large  bowl.  H.  4.4  cm.  L.  6  cm.  Reg. 
98.859.  Ann.  Rep.,  1898,  p.  82,  no.  23. 

At  the  top,  a  conventional  laurel  leaf  pattern  and  a  row  of  plain 
bosses. 

In  the  field,  the  head,  the  right  forearm  and  hand,  and  most  of  the 
lyre  of  a  youthful  lyre-player  appear  at  the  left,  and  parts  of  the  flutes  of 
a  female  flute-player  at  the  right. 

Nos.  44-49  form  a  closely  related  group,  representing  musicians.  That 
they  were  associated  with  banqueting  scenes  is  suggested  by  nos.  37 
and  44  and  shown  more  clearly  by  a  vase  in  Bonn  (B.  J.,  cxxii,  1912,  p. 
424,  fig.  3,  and  pi.  lx).  These  types,  therefore,  are  properly  included  in 
Dragendorff's  list  of  figures  used  in  the  composition  of  symposia  {B.  J., 
xcvi,  1895,  p.  72,  10).  The  satyr  of  no.  47  and  the  flute-plaj-er  of  no.  37 

[64] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

and  the  vase  in  Bonn,  who  is  the  satyr  of  the  "Birth  of  Dionysus"  minus 
a  tail  (cf.  Loeh  Coll.,  no.  1,  pi.  i),  suggests  that  figures  not  strictly  appro- 
priate were  introduced  to  make  up  such  groups. 

Vases 

50.  Fragment  of  a  mould  for  a  large  bowl.  H.  6  cm,  L.  5.5  cm.  Reg. 
88.604.   Robinson,  Cat.,  no.  595. 

At  the  top  of  the  main  field,  conventional  laurel  leaf  pattern  (broken 
by  the  heads  of  the  figures),  egg  and  dart,  and  plain  moulding.  Above,  a 
small  piece  of  the  lip,  with  a  hatched  moulding  at  the  bottom,  is  preserved. 

Of  the  principal  decoration,  only  the  upper  parts  of  two  figures,  a  man 
and  a  woman,  are  preserved.  The  man  was  evidently  reclining  on  his  left 
elbow,  facing  left.  His  shoulders  are  bare,  but  a  robe  is  wrapped  around  the 
lower  part  of  his  body  and  over  his  left  arm.  His  right  arm  is  extended, 
and  the  hand  grasps  the  hand  of  another  figure,  now  lost  except  for  the 
hand  and  the  forearm.  The  woman  is  behind  the  man;  only  her  head  and 
shoulders  facing  left  appear  at  his  left.  Her  head  is  bowed  and  entirely 
covered  by  her  robe,  in  an  attitude  of  grief.  Her  left  hand  is  raised,  and 
the  fingers  grasp  an  edge  of  her  robe. 

51.  Fragment  of  a  large  bowl.  H.  8.1  cm.  L.  5.5  cm.  Reg,  88.592. 
Robinson,  Cat.,  no.  594.   Plate  XXIX, 

At  the  top  appears  part  of  a  naturalistic  grapevine,  with  a  conventional 
laurel  leaf  pattern  below, 

A  female  figure  of  the  type  of  the  female  figure  in  group  (6)  of  no.  34 
reclines  on  a  couch,  of  which  about  one  half  is  preserved.  Her  left  arm 
and  shoulder  and  her  head  are  lost.  On  the  left  side  of  the  fragment, 
part  of  a  curtain  like  the  curtain  associated  with  group  (6)  on  no.  34. 

53.  Fragment  of  a  large  bowl.  H.  7.4  cm.  L.  8  cm.  Reg.  98.862, 
Ann.  Rep.,  1898,  p.  83,  no.  26. 

At  the  top  of  the  field,  row  of  bosses  above  an  egg  and  dart.  Above, 
part  of  the  lip  with  a  hatched  moulding  at  the  bottom.  In  the  main  field, 
part  of  a  loop  of  conventional  laurel  leaf  pattern  is  visible. 

The  only  portion  of  the  figure  composition  that  has  been  preserved  is 

[65] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

the  upper  part  of  a  weeping  woman,  exactly  similar  to  the  weeping  figure 
on  no.  37. 

53.  Nearly  half  of  a  large  bowl  with  flaring  lip.  Put  together  from 
thirteen  fragments,  foot  missing.  H.  14  cm.  D.  10.6  cm.  Reg.  13.109. 
Ann.  Rep.,  1913,  p.  95. 

The  principal  field  is  bordered  below  by  a  band  of  acanthus  leaves 
between  two  conventional  laurel  leaf  patterns;  and  above  by  a  conven- 
tional laurel  leaf  pattern,  an  egg  and  dart,  and  a  plain  moulding.  It  was 
divided  into  four  parts  by  short  pillars  set  up  on  irregular  piles  of  stones 
and  surmoimted,  in  each  case,  by  a  small  Eros  in  front  view.  The  pil- 
lars have  Corinthian  capitals,  and  the  upper  part  of  each  shaft  is  chan- 
nelled. From  the  Erotes  are  suspended  loops  of  conventional  laurel  leaf 
pattern,  which  pass  behind  the  groups  in  the  four  fields. 

Of  these  groups,  two  are  preserved,  both  erotic  in  character  (in  one 
case  a  man  and  a  woman,  in  the  other  two  men,  exactly  like  the  groups 
on  no.  39).  The  couches  of  no.  53,  however,  are  of  the  usual  type,  simpler 
than  those  of  no.  39. 

54.  Fragment  of  a  large  bowl.   H.  8.5  cm.  L.  11.7  cm. 

Below  the  principal  field,  a  band  of  rosettes  and  traces  of  a  band  of 
cross-hatched  pendants;  above,  egg  and  dart,  a  row  of  bosses,  and  a  plain 
moulding. 

Of  the  decoration  an  erotic  group  of  two  men  on  a  couch  (heads  missing) 
is  the  only  part  that  is  well  preserved.  The  type  is  that  of  nos.  39  and  53. 
The  couch  had  a  high,  curving  head,  like  the  couch  on  no.  39.  At  the  left, 
part  of  a  draped  standing  figure,  facing  left,  and  a  small  part  of  the  head 
of  a  second  couch  appear,  and  at  the  right,  a  small  portion  of  a  similar 
draped  figure. 

55.  Part  of  a  large  bowl.  Put  together  from  three  pieces.  H.  8  cm. 
L.  13.2  cm. 

At  the  top  of  the  principal  field,  a  conventional  laurel  leaf  pattern 
(broken  by  the  heads  of  the  figures)  and  a  grapevine. 
In  the  field,  at  the  left,  part  of  an  erotic  group  of  the  type  of  nos.  40 

[66] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

and  41  (complete  except  the  head  and  the  right  arm  of  the  female  figure, 
the  legs  of  the  male  figure,  and  most  of  the  couch) ;  at  the  right,  another 
group,  of  the  type  of  nos.  42  and  43  (complete  except  a  part  of  the  couch). 
Between  the  two  groups,  the  signature  M.  Peren{ni).  Beyond,  at  the  right, 
a  small  part  of  a  third  group. 
For  the  inscription,  cf.  C.  I.  L.,  xi,  6700,  435,  i. 

56.  Fragment  of  a  large  bowl.  H,  6.4  cm.  L.  3.8  cm.  Reg.  88.603. 
Robinson,  Cat.,  no.  593,  Plate  XXIX. 

At  the  top  of  the  main  field,  conventional  laurel  leaf  pattern  and  a  plain 
moulding. 

Of  the  principal  composition  only  the  upper  part  of  a  female  figure  from 
an  erotic  group  of  the  type  of  nos.  42  and  43  is  preserved. 

57.  Lower  part  of  a  large  bowl,  including  the  foot.  Put  together  from 
four  fragments.  H.  8.6  cm.  D.  of  foot,  10.9  cm. 

Near  the  top  of  the  field  a  small  part  of  a  conventional  laurel  leaf  pat- 
tern with  a  wreath  attached  is  preserved,  and  in  the  field  part  of  a  loop 
of  conventional  laurel  leaf  pattern,  with  the  lower  part  of  a  mask  above 
it,  appears. 

Of  the  two  erotic  groups  which  originally  decorated  the  bowl,  two  (a 
man  and  a  woman  in  each  case)  are  almost  completely  preserved.  In 
both  the  grouping  resembles  that  of  nos.  42  and  43,  but  the  female  figure 
is  differently  posed  in  both  cases;  in  one  the  upper  body  appears  in  three 
quarters  back  view,  in  the  other  in  three  quarters  front  view,  and  in  the 
latter  the  woman's  left  arm  is  raised  and  her  left  shoulder  and  upper 
arm  are  covered  by  a  bit  of  drapery. 

58.  Fragment  of  a  large  bowl.  H.  9.5  cm.  L.  6.5  cm.  Reg.  13.103. 
Ann.  Rep.,  1913,  p.  95. 

At  the  top  of  the  field,  part  of  a  loop  of  conventional  laurel  leaf  pattern, 
and  above  it  part  of  a  band  of  palmettes  lying  on  their  sides. 

The  only  portion  of  the  figure  compositions  that  is  preserved  is  part  of 
an  erotic  group,  including  the  head  and  the  left  shoulder  of  the  man,  the 
head  and  the  torso  of  the  woman,  and  a  considerable  part  of  the  couch. 

[67] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

The  tj^e  is  the  same  as  one  of  those  on  no.  51  (with  the  female  figure  in 
three  quarters  back  view). 

59.  Small  fragment  of  a  bowl  of  medium  size.   H.  4.5  cm.   L.  6.7  cm. 
At  the  top  of  the  field,  a  conventional  laurel  leaf  pattern,  from  which 

hangs  a  small  box  with  a  conical  cover. 

In  the  field  an  erotic  group  of  two  men,  almost  complete  except  the 
couch. 

(Z)    MISCELLANEOUS   FIGURE   SUBJECTS 

Moulds 

60.  From  the  upper  part  of  a  mould  for  a  large  bowl.  Three  fragments 
combined.  H.  9.5  cm.  L.  18.9  cm,  Reg.  13.149.  Ann.  Rep.,  1913,  p.  95. 
Plate  XXV. 

At  the  top  of  the  field,  a  rope  pattern  and  a  band  of  double  bosses. 

In  the  centre  of  the  field,  a  tablet  with  the  signature  ^ 
Rhitu{s)  Pisa{ni)  is  represented  as  if  it  were  suspended  \\\7)H1TVV' 
from  the  rope  pattern.  The  point  of  suspension  is  marked  ||#iinjAI  )\s 
by  five  bosses  and  a  knotted  cord  with  hanging  ends.  At  ^ 
the  right,  the  upper  part  of  a  figure  of  a  young  man  (to  just  below  the 
hips)  is  preserved.  He  was  represented  standing  in  three  quarters  view  to 
right,  but  with  the  head  so  turned  that  it  is  in  profile.  He  wears  a  mantle, 
which  is  draped  over  the  shoulders  so  as  to  leave  the  whole  front  of  the 
body  uncovered.  Both  arms  are  raised,  the  right  passing  above  his  head, 
and  in  his  right  hand  he  holds  a  baldric,  which  he  is  evidently  about  to  put 
on.  At  the  right,  a  small  part  of  a  second  male  figure  in  profile  to  right  ap- 
pears; only  the  right  thigh,  part  of  the  right  side,  and  the  folds  of  a  robe 
which  hung  from  the  shoulders  are  preserved.  At  the  left  of  the  inscribed 
tablet,  a  third  male  figure  is  preserved  to  just  above  the  waist.  He  is  in 
three  quarters  view  to  right,  wnth  head  in  profile,  and  was,  apparently, 
standing  quietly.  His  arms  are  crossed  in  front  of  him  in  a  manner  which 
suggests  that  he  was  leaning  on  a  short  staff  or  some  similar  object.  Over 
his  left  upper  arm  the  folds  of  a  robe  appear,  but  except  for  this,  the 
figure  is  nude.  At  the  left  is  a  small  portion  of  a  fourth  figure  (perhaps  a 
man  leaning  on  a  twisted  staff) .  The  scale  of  all  the  figures  is  unusually 
large  and  the  heavy,  stocky  forms  are  rendered  in  great  detail. 

[68] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

In  size  and  in  careful  modelling  the  figures  of  this  fragment  resemble 
those  of  a  series  of  fragments  of  moulds  in  the  Loeb  Collection  {Loeh  Coll., 
nos.  86-90,  pi.  x).  One  of  these  (no.  89)  shows  a  small  part  of  the  figure 
arming  himself  which  is  here  almost  completely  preserved.  The  subject, 
however,  is  obscure.  The  figure  of  a  woman  who  holds  a  child  on  one 
of  the  Loeb  fragments  (no.  86)  suggests  the  possibility  that  the  subject 
is  Hector  and  Andromache,  but  this  can  only  be  regarded  as  a  conjecture 
and  perhaps  not  a  very  probable  one.  The  inscription  RIIITV  PISA  has 
not,  I  think,  been  noted  before.  The  signature  PISA  is  often  regarded 
as  one  of  the  forms  of  the  signature  of  L.  Rasinius  Pisanus  (cf.  C.  /.  L., 
XI,  6700,  519,  h,  c),  but  the  excellent  modelling  of  the  figures  of  no.  60 
suggests  an  earlier  date  than  can  well  be  assigned  to  this  potter;  cf. 
Introduction,  p.  22. 

6i.  From  a  mould  for  a  large  bowl.  Two  fragments  joined  together. 
H.  11.8  cm.  L.  17.1  cm.  Reg.  13.148.  Ann.  Rep.,  1913,  p.  95.  Plate 
XXVI. 

The  field  is  defined  below  by  a  series  of  plain  mouldings,  and  above  by  a 
tongue  pattern  and  a  row  of  bosses. 

At  the  left  is  a  young  man  seated  to  left  on  a  rock,  but  turning  to  look 
toward  a  girl  who  is  seated  behind  him,  so  that  his  shoulders  are  in  front 
view  and  his  head  in  profile  to  right.  His  right  foot  is  placed  on  the  ground, 
his  left  rests  on  a  ledge  in  the  rock  on  which  he  sits.  His  left  hand  is 
placed  on  the  rock  behind  him,  his  right  rests  lightly  on  his  left  knee.  In 
his  hair  a  depression  suggests  a  fillet.  The  girl  is  seated  in  profile  to  left, 
looking  toward  the  young  man.  The  position  of  her  left  hand  is  similar  to 
that  of  the  man's  left,  her  right  is  raised  and  holds  a  robe,  which  covers 
the  right  forearm  and  falls  down  over  her  legs.  Her  hair  is  bound  by  a 
fillet.  Beyond  the  man  (at  the  left)  some  folds  of  drapery  and  the  end  of 
a  long,  twisted  staff  suggest  a  figure  moving  toward  the  left.  Beyond  the 
girl  (at  the  right)  a  bit  of  a  fourth  figure  can  be  made  out.  As  in  no.  60, 
the  large  scale  of  the  figures  and  the  emphasis  on  anatomical  details  are 
noteworthy. 

The  female  figure  appears  on  a  fragment  published  by  Dragendorff, 
B.  J.,  xcvi,  1895,  pi.  IV,  12.   It  presents  close  analogies  to  the  figure  of 

[69] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Ariadne  on  a  series  of  mural  reliefs  which  represent  the  desertion  of 
Ariadne  by  Theseus  (cf.  von  Rohden-Winnefeld,  pp.  102-104,  pi.  ex,  1), 
and  that  may  be  the  subject  of  no.  61.  In  view  of  the  eclectic  character 
of  Augustan  art,  however,  this  interpretation  can  only  be  regarded  as 
a  possibility  and  nothing  more.  The  style  suggests  a  connection  with 
no.  60  and  the  related  fragments  in  the  Loeb  Collection. 

Vases 

62.  About  one  quarter  of  a  deep  bowl.  At  the  top,  a  part  of  the  out- 
ward-curving lip,  with  it  mouldings,  is  preserved.  H.  12.2  cm.  L.  10.2 
cm.  Reg.  03.879.  Plate  XXIX. 

At  the  top  of  the  main  field,  egg  and  dart  moulding.  Below  this  is  a 
band  of  ivy  leaves  laid  on  their  sides,  and  from  this,  at  intervals,  hang 
comic  masks,  suspended  by  elaborate  fillets  with  knotted  ends  (two  such 
masks  are  preserved  in  the  fragment). 

Below  the  mask  at  the  right  appears  the  upper  part  of  an  incense  burner 
of  simple  form.  Advancing  toward  this  is  the  one  figure  that  is  preserved 
—  an  Egyptian  king  (or  priest?)  in  profile  to  right,  but  with  the  shoulders 
turned  so  that  they  are  in  three-quarters  view  (complete  except  for  the 
right  foot).  He  wears  a  loin  cloth  in  the  Egyptian  manner,  and  has  on  his 
head  the  familiar  linen  headdress  and  a  group  of  three  ears  of  wheat  (?). 
His  right  hand  is  lowered  and  holds  a  circlet  (perhaps  a  misunderstood 
ankh),  his  left  hand  is  advanced,  and  holds  a  sort  of  sceptre,  which  is  sur- 
mounted by  a  urseus  serpent. 

Egj'ptian  and  Egyptianizing  subjects  are  not  uncommon  in  decorative 
compositions  of  the  Early  Imperial  period.  Among  the  mural  reliefs,  one 
large  class  is  decorated  with  representations  of  pygmies  in  an  Egyptian 
setting  (von  Rohden-Winnefeld,  pp.  155-159,  pis.  xxvii,  cxl,  cxli);  an- 
other with  a  figure  of  Bes  or  a  figure  of  Isis  between  sphinxes  (ibid.,  pp. 
164-167,  pis.  XLiv,  cxiv,  2);  and  others  still  with  figures  of  kneeling  Egyp- 
tian priests  {ibid.,  pp.  217  /.).  But  I  know  of  no  exact  parallel  for  the 
figure  of  no.  62. 

63.  Small  fragment  of  a  large  bowl.  H.  4.6  cm.  L.  5.2  cm.  Reg.  88.608. 
Robinson,  Cat.,  no.  591.  Plate  XXIX. 

[  70] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Nothing  is  preserved  except  a  part  of  the  figure  of  a  warrior  striding 
towards  the  left.  He  carries  a  round  shield  on  his  left  arm,  and  wears  a 
chlamys,  the  folds  of  which  are  roughly  indicated. 

64.  Fragment  of  a  large  bowl.  H.  5.8  cm.  L.  8.8  cm.  Reg.  88.598. 
Robinson,  Cat,  no.  597.  Plate  XXIX. 

At  the  top  of  the  main  field,  egg  and  dart.  Above,  a  small  part  of  the 
lip  is  preserved,  with  plain  mouldings  at  the  bottom. 

Only  one  figure  is  preserved  in  any  completeness  —  a  female  dancer 
in  armor  (broken  at  the  knees).  She  is  apparently  moving  towards  the 
left,  but  is  posed  almost  in  front  view.  She  wears  a  long,  doubly  girt 
chiton,  over  which  a  baldric  can  be  seen,  hung  over  the  right  shoulder. 
On  the  head  is  a  low  helmet,  but  this  part  is  so  rubbed  that  all  details  are 
unclear.  Her  right  arm  is  raised  and  bent  at  the  elbow,  so  that  the  hand, 
which  holds  a  sword,  is  just  visible  behind  the  head.  On  her  left  arm  is  a 
shield,  which  is  swung  around  so  as  to  show  the  inside,  with  careful  in- 
dication of  the  handles  and  an  ornamental  pattern  of  bosses.  At  the 
right,  the  right  arm  and  a  bit  of  the  drapery  of  a  second  figure  appear. 
The  right  hand  holds  some  object,  perhaps  a  spear. 

65.  Small  fragment  of  a  large  bowl.  H.  5.3  cm.  L.  5.4  cm.  Reg.  98.833. 
Ann.  Rep.,  1898,  p.  91,  no.  68.  Plate  XXIX. 

Of  the  decoration  only  the  lower  part  of  a  figure  of  Zeus  is  preserved. 
The  god  was  seated  in  profile  to  right,  with  right  foot  advanced  and  left 
drawn  back  and  resting  on  the  toes.  His  legs  are  covered  by  a  robe,  with 
the  folds  carefully  worked  out.  The  throne  was  elaborate,  with  turned 
legs,  and  below  it  an  eagle  in  front  view,  with  spread  wings.  Under  the 
feet  of  Zeus  is  a  footstool. 

A  larger  fragment  in  the  Museo  Pubblico  at  Arezzo  shows  that  this 
vase  was  of  Class  I,  but  gives  no  suggestion  as  to  the  subject  as  a  whole. 
Cf.  Loeb  Coll.,  no.  197,  pi.  xix. 


CLASS  II 

(a)    DEATH   OF   PHAETHON 

Moulds 

66.  Mould  for  a  low  bowl.  Put  together  from  six  fragments,  two  tri- 
angular pieces  missing;  badly  rubbed.  H.  8  cm.  D.  19  cm.  Reg.  98.828. 
Ann.  Rep.,  1898,  p.  89,  no.  63.  Plates  XIV,  XV. 

There  is  only  one  field  for  decoration,  bordered  by  a  band  of  rosettes 
above  and  by  a  conventional  laurel  leaf  pattern  below.  Below  the  rosettes, 
another  band  of  conventional  laurel  leaf  runs  almost  entirely  around  the 
mould,  broken  in  places  by  the  figures. 

The  composition  falls  into  two  distinct  parts,  the  divisional  points 
being  emphasized  by  the  signatures,  M.  Peren{ni)  and  Bargate{s).  In  one 
of  the  two  fields  thus  set  off  (to  the  right  of  the  signature  of  Perennius), 
Phaethon  is  represented  falling  from  his  chariot.  The  figure  extends 
horizontally  across  the  field,  the  legs  in  profile,  the  upper  body  twisted 
about  so  that  both  shoulders  are  visible.  The  head  falls  to  one  side,  the 
arms  are  extended  helplessly.  He  is  nude,  but  above  the  left  side  and 
below  the  legs  bits  of  flying  drapery  are  summarily  indicated.  Above  the 
left  arm  is  a  wheel  with  eight  spokes,  evidently  a  part  of  his  broken  chariot. 
At  the  left  of  Phaethon,  Helios  is  represented.  He  is  mounted  on  a  horse 
which  gallops  toward  the  right  and  behind  which  a  second  horse  appears. 
In  his  extended  right  hand  he  grasps  the  reins  of  two  galloping  horses  in 
the  upper  part  of  the  field,  evidently  part  of  the  runaway  team  of  Phaethon. 
Behind  him  are  the  other  two  horses,  which  rush  away  towards  the  left; 
the  reins  of  one  of  them  fly  out  behind  him.  Above  Phaethon  and  to  the 
right  is  a  flying  female  figure  with  wings  widely  spread,  grasping  in  her 
hands  a  long  bow.  The  type  resembles  Nike  in  some  respects,  but  more 
probably  she  is  a  being  symbolical  of  the  heavens.  Just  beyond  her  is 
Artemis,  facing  left,  dressed  in  a  long,  girt  robe  fastened  only  on  the  left 
shoulder,  with  drawn  bow  shooting  at  Phaethon.  Beyond  her  is  Zeus, 
seated  to  left,  wearing  a  long  robe  which  has  slipped  down  from  his  shoul- 

[  72  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

ders.  His  right  hand  is  raised  and  grasps  the  thunderbolt  which  he  is 
hurHng  at  Phaethon.  Behind  him  is  a  female  figure  (Tethys)  carrying  a 
wheel  of  the  chariot  which  she  has  picked  up.  She  rushes  away  toward  the 
right,  but  turns  her  head  to  look  upward;  her  long  robe  flies  out  behind. 
In  front  of  her,  three  stalks  suggest  plants  rising  from  the  ground. 

The  second  scene,  which  follows,  represents  the  transformation  of  the 
Heliades.  It  begins  with  a  large  poplar  tree  (probably  one  of  the  daughters 
of  Helios  completely  transformed).  At  the  right  are  three  stalks  rising 
from  the  ground,  and  beyond  them  is  a  young  man,  who  grasps  a  bough 
of  the  tree  in  his  left  hand,  and  in  his  right  holds  a  curved  pruning  hook 
(kXoo-ttjpiov),  with  which  he  is  attacking  the  tree.  His  only  dress  is  a  loin 
cloth.  Below  his  feet  the  ground  is  summarily  indicated.  Behind  him 
(to  the  right)  is  a  twisted  pillar  surmounted  by  a  rosette,  which  seems  to 
be  used  simply  to  fill  space;  against  the  pillar  leans  a  short  ladder.  Then 
follow  two  female  figures  (Heliades)  in  profile  to  right,  with  short  branches 
rising  from  their  heads.  Both  were  made  with  the  same  stamp.  They  wear 
long  robes,  which  leave  the  upper  body  bare,  and  each  has  her  right  arm 
raised,  grasping  one  of  the  branches  which  rise  from  her  head.  The  first 
of  these  maidens  is  attacked  by  a  nude  youth  who  seizes  one  of  the  branches, 
the  second  is  attacked  by  a  figure  with  a  loin  cloth,  made  with  the  same 
stamp  as  the  first  nude  figure  in  the  scene. 

This  mould  is  unique  among  the  products  of  the  Arretine  potters.  On 
account  of  its  unusual  subject,  it  has  been  considerably  discussed:  cf.  in 
addition  to  the  Ann.  Rep.  for  1898,  Hartwig,  Philologus,  lviii,  1899,  pp. 
481-497  (with  a  plate  reproduced  from  a  drawing);  Goez,  ibid.,  lx,  1901, 
pp.  478  /.;  Knaack,  in  Roscher,  Lex.  d.  Myth.,  iii,  2,  col.  2195,  fig.  1 
(reproduced  from  the  plate  in  Philologus,  lviii);  and  for  brief  mention, 
Walters,  History  of  Ancient  Pottery,  ii,  p.  483;  B.  M.  Cat.  R.  P.,  pp.  xvii  and 
xxi;  The  Art  of  the  Romans,  p.  147.  This  is  the  earliest  preserved  monument 
on  which  the  story  of  Phaethon  is  represented;  it  was  probably  based  on  a 
Hellenistic  model  and  it  presents  interesting  analogies  to  sarcophagi  of 
later  date  with  the  same  subject  (cf.  Knaack,  Quaestiones  Phaethonteae, 
pp.  71-77).  For  the  inscription  M.  Peren(ni),  cf.  C.  I.  L.,  xi,  6700, 
451,  h;  and  for  the  inscription  Bargate(s),  ibid.,  6700,  451,  a,  c,  f,  I,  a 
(these  lack  the  decorative  border  of  the  Boston  example). 

[73  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(b)    DANCERS 

Moulds 

67.  Mould  for  a  bowl  of  medium  size.  Broken  into  two  pieces,  but  com- 
plete except  for  chipping  at  the  edges  of  the  break.  H.  8.7  cm.  D.  16.3 
cm.  Reg.  04.34.  Ann.  Rep.,  1904,  p.  60,  no.  4.  Plate  XVI. 

The  surface  is  divided  into  two  fields  by  a  plain  moulding.  The  lower 
field  is  defined  at  the  bottom  by  a  plain  moulding  and  a  row  of  single 
bosses;  the  upper  field  has  a  band  of  rosettes  at  the  top. 

The  lower  field  is  decorated  with  six  small  flowering  plants,  which  rise 
from  the  moulding  at  the  bottom  of  the  field;  each  has  a  double  boss  at 
the  base,  and  on  each  is  perched  a  large  bird,  to  left,  but  with  the  head 
turned  and  looking  toward  the  right.  Alternating  with  these  is  a  con- 
ventional pattern,  consisting  of  a  pointed  staff  with  cross  hatching  be- 
tween two  shorter  pointed  staffs  with  spirals;  at  the  base  of  each  group 
of  three  pointed  staffs  is  a  rosette. 

The  main  field  is  divided  into  six  roughly  equal  spaces  by  six  conven- 
tional patterns,  made  up  of  a  large  leaf  surmounted  by  a  flower,  with  an 
ear  of  wheat  rising  obliquely  from  the  ground  line  on  each  side  of  the  leaf. 

The  six  figures  which  form  the  principal  decoration  are:  — 

(a)  Female  dancer  in  voluminous  robe,  treated  in  very  graceful  folds. 
The  lower  part  of  the  body  is  in  front  view,  the  upper  part  turns  toward 
the  left,  the  head  toward  the  right.  In  her  right  hand,  the  woman  holds  a 
triangular  harp  (fidyaBK) ,  on  which  she  is  playing  with  her  left  hand.  At 
the  right  of  the  figure,  in  the  upper  part  of  the  field,  M.  Peren(ni). 

(b)  Male  dancer  dressed  in  exomis.  He  moves  toward  the  left,  but  the 
upper  body  is  twisted  about,  so  that  the  shoulders  are  nearly  in  front  view 
and  the  head  in  profile  to  right,  as  he  looks  down  toward  the  ground.  The 
arms  are  raised,  and  each  hand  holds  a  large  castanet. 

(c)  Woman  dancing  to  right,  but  turning  and  looking  down,  so  that 
she  forms  a  pendant  to  (6).  She  wears  a  voluminous  robe,  girt  high,  and 
flying  out  on  either  side  in  graceful  folds.  The  arms  are  raised  above  the 
head,  with  castanets  in  the  hands.   The  hair  is  tied  in  a  knot  behind. 

(d)  Male  flute-player  in  profile  to  left.  He  wears  a  short  chiton  and  a 
chlamys.    His  left  foot  is  firmly  planted  on  the  ground,  with  his  right  he 

[  74  ] 


A  CATALOGUE  OF  AERETINE  POTTERY 

beats  time  on  a  large  scabellum  (Kpowe^a).  Both  arms  are  extended,  the 
fingers  bent  as  he  plays.  At  the  right  of  the  figure,  near  the  top  of  the 
field,  Tigrani. 

(e)  Same  as  (c). 

(/)  Male  dancer  wearing  short  exomis.  The  legs  are  in  profile  to  left, 
the  upper  body  in  full  front,  the  head  in  profile  to  right  and  tUted  far 
back.  Both  arms  are  raised  above  the  head.  The  backs  of  the  fingers  are 
brought  together,  and  it  is  this  feat,  apparently,  at  which  the  man  is 
looking. 

These  types  of  small  dancing  figures  are  very  common  on  Arretine 
vases  of  the  second  class:  cf.  nos.  68-75;  Loeb  Coll.,  nos.  125  and  126,  pis. 
V  and  XI  (125  signed  M.  Perenni  Tigrani);  B.  J.,  xcvi,  1895,  pi.  v,  49; 
B.  M.  Cat.  R.  P.,  L  103  (=  fig.  26,  p.  32)  and  L  104.  For  the  inscription, 
cf.  C.  I.  L.,  XI,  6700,  450,  n. 

68.  Mould  for  a  cover.  Put  together  from  three  fragments,  but  com- 
plete except  for  two  small  pieces.  H.  3.8  cm.  D.  19.6  cm.  Reg.  04.35. 
Ann.  Rep.,  1904,  p.  60,  no.  5.  Plate  XVI. 

Beginning  at  the  centre,  the  decorative  patterns  are:  a  row  of  bosses; 
a  plain  moulding;  a  row  of  small  bosses;  palm  leaves  alternating  with  small 
flowers  on  curving  stems;  a  very  narrow  plain  moulding;  conventional 
laurel  leaf  pattern.  Around  the  outer  edge  run  a  plain  moulding  and  a  row 
of  bosses. 

The  main  field  is  divided  into  six  parts  by  elaborate  ornaments  made 
up  of  conventional  leaves;  on  top  of  each  ornament  is  perched  a  bird. 
The  six  dancing  figures  which  fill  the  six  spaces  were  apparently  made 
with  the  same  stamps  as  those  of  no.  67.  They  are  as  follows:  — 
(a)  Same  as  no.  67  (a).  (d)  Same  as  no.  67  (6). 

(6)  Same  as  no.  67  (d).  (e)  Same  as  no.  67  (/). 

(c)  Same  as  no.  67  (c).  (/)  Same  as  no.  67  (c). 

Cf.  the  note  on  no.  67. 

69.  Mould  for  a  cup  with  nearly  straight  sides.  Unbroken.  H.  9  cm. 
D.  at  top,  9.9  cm.;  at  bottom,  5.4  cm.  Reg.  00.315.  Ann.  Rep.,  1900, 
p.  85,  no.  4.  Plate  XVII. 

[75  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

The  field  is  bordered  at  the  top  by  a  plain  moulding  and  a  conventional 
laurel  leaf  pattern,  and  at  the  bottom  by  two  plain  mouldings  on  which 
the  feet  of  the  figures  rest.  It  is  divided  into  five  parts  by  pairs  of  ver- 
tical plain  mouldings.  Where  these  meet  the  two  mouldings  at  the  bottom, 
stalks  of  plants  rise  from  the  ground  lines  on  either  side.  Where  they 
cross  the  laurel  leaf  pattern  at  the  top,  loops  of  conventional  laurel  leaf 
pattern  are  attached  to  them  by  fillets.  These  loops  pass  behind  the 
figures.  The  figures  are  in  some  cases  of  the  same  types  as  those  of  nos. 
67  and  68,  but  they  are  all  on  a  larger  scale.  The  five  spaces  are  filled  as 
follows:  — 

(a)  Female  figure  in  profile  to  right.  She  wears  an  Ionic  chiton  and  a 
himation,  which  is  drawn  up  over  the  back  of  her  head.  Both  arms  are 
extended  in  front  of  her,  and  she  is  clapping  her  hands,  as  if  to  give  the 
time  for  the  dancers.  In  front  of  her  is  the  signature  M.  Peren{ni)  (from 
above  downwards). 

(6)  Group  of  two  female  figures.  The  one  at  the  right  is  in  three-quarters 
front  view,  but  her  head  is  in  profile  to  right.  She  wears  a  Doric  chiton 
and  a  himation.  The  right  hand  is  raised  and  touches  an  object  (perhaps 
a  lyre)  which  the  woman  holds  with  her  left.  The  figure  at  the  left  is  in 
front  view,  with  her  head  turned  to  right.  She  wears  chiton  and  hima- 
tion and  has  a  long  veil  over  her  hair.  Her  weight  rests  on  the  right  leg, 
the  left  is  bent  at  the  knee  and  touches  the  groimd  only  with  the  toes. 
Her  right  hand  rests  on  her  hip. 

(c)  Same  as  no.  67  (/).  At  the  right,  the  signature  Tigrani  (from  above 
downwards). 

(d)  Male  dancer  in  exomis,  running  to  right.  Both  arms  are  extended, 
but  the  hands  appear  to  be  empty. 

(e)  Same  as  no.  67  (6). 

Cf.  the  note  on  no.  67;  and  for  the  signature,  C.  I.  L.,  xi,  6700,  450,  n. 

70.  Nearly  half  of  a  mould  for  a  small  bowl.  H.  7  cm.  D.  12  cm.  Reg. 
98.848.   Ann.  Rep.,  1898,  p.  80,  no.  12. 

At  the  top  of  the  field,  a  row  of  bosses  and  a  conventional  laurel  leaf 
pattern,  broken  by  the  heads  of  the  figures;  at  the  bottom,  rough  pro- 
jections to  indicate  the  ground,  with  plant  stems  rising  at  intervals.   The 

[76] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

field  was  divided  into  parts  by  ornaments  made  up  of  conventional 
leaves,  with  a  bird  perched  on  top  of  each;  two  of  these  ornaments  appear 
on  the  fragment.  Three  figures  made,  apparently,  with  the  same  set  of 
stamps  as  the  figures  of  no.  69,  are  wholly  or  partially  preserved:  — 

(a)  Same  as  no.  69  (d). 

(b)  Same  as  no.  67  (6). 

(c)  Same  as  no.  67  (c). 
Cf .  the  note  on  no.  67. 

71.  About  one  third  of  a  mould  for  a  small  bowl.  Put  together  from 
two  fragments.  H.  7.7  cm.  L.  13.7  cm.  Reg.  98.847.  Ann.  Rep.,  1898, 
p.  79,  no.  11. 

At  the  bottom  of  the  field,  rough  indications  of  the  ground  with  plant 
stalks  rising  between  the  figures.  At  the  top,  row  of  bosses,  naturalistic 
grapevine,  and  conventional  laurel  leaf  pattern,  broken  by  the  figures. 
The  figures  have  the  same  dimensions  as  those  of  nos.  69  and  70.  The 
three  which  are  preserved  are:  — 

(a)  Same  as  no.  67  (a). 

(b)  Same  as  no.  69  (a). 

(c)  Same  as  no.  67  (6). 

At  the  extreme  left,  the  upper  right-hand  corner  of  a  tripod  can  be  made 
out. 

Cf.  the  note  on  no.  67. 

73.  Fragment  of  a  mould  for  a  wide,  low  bowl.  H.  6.5  cm.  L.  12.8  cm. 
Reg.  98.846.  Ann.  Rep.,  1898,  p.  79,  no.  10. 

At  the  top,  row  of  bosses  and  a  conventional  laurel  leaf  pattern.  The 
field  was  divided  into  small  spaces  by  single  ears  of  wheat  rising  from  the 
ground;  two  of  these  ornaments  are  partially  preserved.  Above  them  are 
bucrania  to  which  loops  of  conventional  laurel  leaf  pattern  are  attached 
by  fillets;  these  loops  pass  behind  the  figures.  At  the  right  a  third  bu- 
cranium  is  preserved.  The  figures  are  of  the  same  size  as  those  of  nos. 
69-71,  and  were  probably  made  with  the  same  stamps.  There  are  two 
nearly  complete  figures :  — 

(a)  Same  as  no.  69  (a). 

[77  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(b)  Same  as  no.  67  (/).  At  the  right,  the  first  three  letters  of  the  in- 
scription Tigrani  (from  above  downwards)  are  preserved.  At  the  ex- 
treme left,  a  small  part  of  a  third  figure  appears. 

Cf.  the  note  on  no.  67. 

73.  Small  fragment  of  a  mould  for  a  small  bowl.  H.  6  cm.  L.  11  cm. 
Reg.  98.849.   Ann.  Rep.,  1898,  p.  80,  no.  13. 

At  the  top,  a  row  of  bosses  and  a  conventional  laurel  leaf  pattern,  broken 
by  the  figures.  The  ground  does  not  appear  to  have  been  indicated,  but  a 
slender  plant  stalk  rises  into  the  field  at  one  point. 

The  preserved  figures  are:  — 

(a)  Same  as  no.  67  (d). 

(b)  Same  as  no.  69  (6). 

(c)  Same  as  no.  67  (/). 
Cf.  the  note  on  no.  67. 

74.  Fragment  of  a  small  mould.   H.  4.9  cm.  L.  4.7  cm.  Reg.  03.861. 
At  the  top  of  the  principal  field,  a  row  of  bosses  and  a  conventional 

laurel  leaf  pattern.    Of  the  decoration  only  the  head  and  the  arms  of  a 
flute-player  in  profile  to  left  are  preserved  (cf.  no.  67,  d).  In  front  of  him 
are  plant  stalks  rising  from  the  ground. 
Cf.  the  note  on  no.  67. 

75.  Fragment  of  a  mould  for  a  low  bowl.  H.  5.6  cm.  L.  6.2  cm,  Reg. 
98.850.    Ann.  Rep.,  1898,  p.  80,  no.  14. 

At  the  top  of  the  field,  conventional  laurel  leaf  pattern  and  plain  moulding. 

The  main  field  was  divided  into  smaller  fields  by  bearded  herms  rising 
from  floral  ornaments.  One  of  these  is  well  preserved,  at  the  right-hand 
side  of  the  fragment.  From  the  herm,  loops  of  conventional  laurel  leaf 
pattern  are  suspended,  as  well  as  cymbals  on  long  cords.  At  the  right  of 
the  herm  a  bunch  of  grapes  is  preserved  at  the  top  of  the  field ;  at  the  left, 
as  if  perched  on  the  loop  of  pattern,  is  a  bird. 

Below  the  bird,  part  of  a  female  figure  dancing  to  right,  of  the  same  type 
as  no.  67  (c),  is  preserved. 

Cf.  the  note  on  no.  67. 

[78] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(c)  HUNTING   SCENES 

Moulds 
y6.  Nearly  half  of  a  mould  for  a  bowl  of  medium  size.   Put  together 
from  two  pieces.    Considerably  worn,  with  bits  of  clay  still  adhering  to 
the  mould  in  many  places.   H.  10  cm.   D.  14  cm.  Reg.  04.31.  Ann.  Rep., 
1904,  p.  60,  no.  9.  Plate  XVII. 

The  lower  field  has  a  border  of  small  leaves  at  the  bottom.  It  is  deco- 
rated with  alternating  long  leaves  and  pointed  staflFs  with  rings.  Near  the 
base  of  every  pointed  staff  a  flower  is  added  to  it,  and  in  the  spaces  be- 
tween the  leaves  and  the  pointed  staffs,  near  the  top  of  the  field,  are  single 
small  rosettes.  The  principal  field  has  at  the  top  a  conventional  laurel 
leaf  pattern,  broken  by  one  of  the  figures.  At  the  bottom,  the  ground  is 
indicated  by  a  series  of  broad  strokes,  with  flowers  on  short  stems  rising 
at  intervals. 

The  preserved  portion  of  the  principal  field  is  divided  into  two  parts 
by  a  gnarled  tree.  At  the  right  of  this  appears  a  huntsman  rushing  to  the 
aid  of  a  companion  who  is  being  attacked  by  a  bear.  Of  the  first  figure, 
only  the  legs,  the  lower  part  of  the  torso,  and  the  left  elbow  are  preserved. 
The  man  wears  high  hunting  boots,  and  around  the  left  arm  is  wrapped  a 
cloak,  which  flies  out  behind  him  in  agitated  folds.  The  bear  is  in  profile 
to  right,  standing  on  his  hind  legs  and  attacking  a  man  who  has  fallen 
to  the  ground.  Only  a  part  of  this  figure  is  preserved.  He  lies  upon  the 
ground  under  the  bear  in  profile  to  left.  With  his  right  arm  he  seizes  the 
bear  by  the  throat,  his  right  foot  is  raised  and  pressed  against  the  bear's 
belly.  Above  the  bear,  part  of  the  signature  {Nicep)hor{us  Pere)nni  jgo^ 
is  preserved.  At  the  extreme  right  end  of  the  fragment,  part  of  the  cNNQ 
branch  of  a  second  tree  appears. 

At  the  left  of  the  gnarled  tree  is  a  hunter  running  toward  the  left. 
The  figure  is  in  profile  for  the  most  part,  but  the  shoulders  are  turned 
about  so  that  both  are  visible  in  back  view.  The  man  wears  high  boots, 
chiton,  and  a  chlamys  which  covers  his  left  arm,  and  has  his  hair  bound 
with  a  fillet.  In  his  hands  he  holds  a  spear,  with  which  he  is  thrusting 
toward  the  left.  Behind  him  is  a  hunting  dog,  running  to  left,  and  above 
and  at  the  left,  a  branch  of  a  tree  is  visible. 

[79] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Cf.  Not.  Scav.,  1884,  pi.  viii,  3;  Loeb  Coll.,  no.  137,  pi.  xi;  and  the  note 
on  no.  81.  For  the  signature,  cf.  C.  I.  L.,  xi,  6700,  444,  a. 

77.  From  a  mould  for  a  bowl  of  medium  size.  Made  with  the  same 
dies  as  No.  76;  less  worn.  H.  7  cm.  L.  11.8  cm.  Reg.  13.147.  Ann.  Rep., 
1913,  p.  95.  Plate  XXVI. 

At  the  top  of  the  principal  field,  a  conventional  laurel  leaf  pattern  and 
a  row  of  bosses. 

In  the  field,  about  one  half  of  the  group  representing  two  hunters  and 
a  bear  is  preserved.  The  huntsman  who  rushes  to  the  aid  of  his  com- 
panion is  complete  down  to  the  knees.  His  right  arm  is  raised  and  in  his 
right  hand  he  holds  an  axe,  with  which  he  is  about  to  deal  a  blow  at  the 
bear.  Over  his  right  shoulder  and  his  back  passes  a  baldric.  The  pre- 
served parts  of  the  bear  are  the  back  of  the  head,  the  shoulder,  and  the 
back.  Above  him  is  the  signature,  M.  Perenni.  Very  careful  and  skilful 
modelling  throughout. 

Cf.  no.  76  and  the  note  on  no.  81.  For  the  inscription,  cf.  C.  I.  L., 
XI,  6700,  435,  b. 

78.  Fragment  of  a  mould  for  a  large  bowl  with  nearly  straight  sides. 
H.  7.8  cm.  L.  9  cm.  Reg.  98.851.  Ann.  Rep.,  1898,  p.  80,  no.  15.  Plate 
XXVI. 

At  the  top  of  the  principal  field,  a  row  of  bosses;  below  it,  a  conven- 
tional laurel  leaf  pattern,  broken  by  the  figure. 

One  figure  is  completely  preserved  —  a  youthful  hunter  swinging  an 
axe  above  his  head.  He  is  in  profile  to  right,  but  his  shoulders  and  his  right 
leg  are  turned  so  as  to  be  nearly  in  front  view.  His  only  garment  is  a 
cloak,  which  covers  the  left  arm  and  flies  out  behind.  Behind  him  (at  the 
left)  is  the  end  of  the  inscription,  NNI,  i.e.,  {Pere)nni.  In  front  of  him 
(to  the  right)  is  a  scraggy  tree;  the  trunk  and  branches  are  all  made  up 
of  short  strokes  with  bunches  of  leaves  at  the  ends  of  some  of  the  branches. 
Beyond  the  tree  the  shoulder  and  the  foreleg  of  a  bear  in  profile  to  right 
can  be  made  out. 

Cf.  B.  J.,  xcvi,  1895,  pi.  IV,  13  and  14;  Loeh  Coll.,  no.  139,  pi.  xi;  and 
the  note  on  no.  81. 

[  80] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

7g.  Fragment  of  a  mould  for  a  bowl  with  nearly  straight  sides.  H.  7.4 
cm.  L.  9  cm.  Reg.  98.853.  Ann.  Rep.,  1898,  p.  81,  no.  17.  Plate  XXVI. 

At  the  top  of  the  principal  field,  row  of  bosses;  below  it,  a  conventional 
laurel  leaf  pattern. 

The  one  figure  which  is  well  preserved  is  a  youthful  hunter  facing  right, 
with  shoulders  and  left  leg  almost  in  front  view,  like  those  of  the  hunter 
on  no.  78.  His  arms,  however,  are  lowered,  and  with  both  hands  he  grasps 
a  three-pronged  spear,  with  which  he  is  thrusting  at  a  boar,  whose  head 
and  forelegs  only  in  profile  to  left  are  preserved.  The  hunter  wears  a  cloak, 
very  similar  to  that  of  the  hunter  on  no.  78,  and  his  hair  is  confined  by  a 
fillet  with  long  ends.  In  front  of  him  is  a  tree,  behind  which  he  has  ap- 
parently taken  refuge.  The  boar's  head  is  skilfully  rendered;  below  his 
feet  is  an  indication  of  rocky  ground. 

The  torso  of  this  figure  appears  to  have  been  made  with  the  same  stamp 
as  the  torso  of  the  huntsman  of  no.  78.  By  the  use  of  separate  stamps  for 
the  arm  and  the  spear,  a  figure  of  quite  different  appearance  was  pro- 
duced. The  necessity  of  blotting  out  part  of  the  first  impression  probably 
accounts  for  the  awkward  arrangement  of  the  tree  and  the  spear.  Cf. 
Loeb  Coll.,  no.  138,  pi.  xi,  and  the  note  on  no.  81. 

8o.  Fragment  of  a  mould  for  a  large  bowl.  H.  7.6  cm.  L.  12  cm.  Reg. 
98.852.  Ann.  Rep.,  1898,  p.  81,  no.  16.  Plate  XXVI. 

At  the  top  of  the  principal  field,  a  row  of  bosses;  below  it,  a  conventional 
laurel  leaf  pattern. 

In  the  main  field,  at  the  right,  a  lion  attacks  a  fallen  man.  The  man  is  in 
a  sitting  posture  on  the  ground,  facing  left.  He  apparently  was  supporting 
himself  with  his  right  arm,  his  left  is  enveloped  in  drapery.  The  lion  holds 
him  by  placing  a  paw  on  his  shoulder,  and  bites  his  head.  Beyond  (at  the 
right)  part  of  the  drapery  of  another  figure  is  preserved.  Behind  the  lion 
(at  the  left)  the  greater  part  of  the  figure  of  a  hunter  rushing  to  the  aid 
of  his  comrade  appears.  He  swings  an  axe  above  his  head,  and  is  in  all 
respects  exactly  similar  to  the  huntsman  of  no.  78. 

The  figure  of  which  a  bit  of  drapery  is  preserved  at  the  right  does  not 
seem  to  have  been  the  horseman  with  a  short  sword  or  dagger  who  is 
often  combined  with  figures  of  the  lion  and  his  victim  and  the  hunter  with 

[  81  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

the  axe  (of.  B.  M.  Cat.  R.  P.,  L  101  =  fig.  25,  p.  31,  and  Walters,  ii,  pi. 
Lxvi).  In  this  combination  the  figure  on  horseback  has  been  interpreted 
as  Alexander,  the  hunter  with  the  axe  as  Craterus,  and  the  whole  has  been 
thought  to  reflect  a  bronze  group  by  Lysippus  and  Leochares  which  was 
set  up  at  Delphi  by  the  younger  Craterus  (Plut.,  Alex.,  40;  Pliny,  A'^.  H., 
34,  63/.).  Other  supposed  reflections  of  the  bronze  group  are  discussed  by 
Loeschcke,  Jahrb.  arch.  I.,  iii,  1888,  pp.  189  ff.,  pi.  vii,  and  by  Perdrizet, 
J.  H.  S.,  xrx,  1899,  pp.  273  jjf.  It  may  be  doubted,  however,  whether  it  is 
justifiable  to  apply  the  names  of  Alexander  and  Craterus  to  the  figures  on 
the  Arretine  vases.  On  several  impublished  moulds  at  Arezzo,  these  fig- 
ures are  variously  arranged  and  are  combined  with  bear-hunting  and 
boar-hunting  scenes  of  the  types  of  nos.  76-79,  so  that  it  is  probable  that 
to  the  Arretine  potters  all  these  figures  represented  generalized  types,  not 
particular  individuals. 

8i.  Fragment  of  a  mould  for  a  large  bowl,  with  nearly  straight  sides 
and  outward-curving  lip.  H.  12  cm.  L.  9  cm.  Reg.  98.854.  Ann.  Rep., 
1898,  p.  81,  no.  18.  Plate  XXVII. 

The  lip  is  set  off  from  the  principal  field  by  two  plain  mouldings,  and 
decorated  with  an  elaborate  wreath,  in  which  ivy  leaves  and  berries  and 
tendrils,  laurel  leaves,  and  several  different  fruits  and  flowers  appear. 
Near  the  top  of  the  principal  field  is  a  conventional  laurel  leaf  pattern. 

One  figure  is  almost  completely  preserved  —  a  youthful  hunter  on 
horseback,  in  profile  to  right.  The  horse  is  finely  modelled,  as  he  is  pulled 
up  by  the  rider.  Bridle  and  breast  band  are  carefully  indicated,  as  well  as 
an  animal's  skin  which  served  as  a  saddle-cloth  on  the  horse's  back.  The 
rider  wears  a  short  chiton  and  has  on  his  head  a  small  petasos.  His  left 
hand  is  lowered,  grasping  the  reins;  his  right  is  raised  and  holds  a  short 
spear,  which  he  is  about  to  throw.  Below,  just  in  front  of  the  horse's  fore- 
feet, the  right  arm  and  knee  and  part  of  the  right  shoulder  and  the  head  of  a 
fallen  man  can  be  made  out.  Above,  near  the  top  of  the  field,  fcjn5c\ 
is  the  inscription,  evidently  part  of  the  signature  AI.  Perenni  MpJC  < 
Tigrani. 

Cf.  B.  J.,  xcvi,  1895,  pi.  IV,  16.  The  different  types  which  were  com- 
bined to  form  hunting  scenes  are  briefly  discussed  by  Dragendorff,  B.  J., 

[  82  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

xcvi,  1895,  pp.  73-75,  and  cm,  1898,  p.  89,  note  3.  In  the  former  article, 
he  placed  vases  of  this  sort  in  Class  I,  but  in  the  latter,  he  placed 
them  in  Class  II.  In  view  of  the  neglect  of  the  principle  of  isocephalism 
which  they  show  and  the  emphasis  on  the  background,  especially  in  the 
boar-hunting  scenes,  his  later  opinion  is  to  be  preferred.  Walters,  also, 
although  he  mentions  hunting  scenes  in  Class  I  (History  of  Ancient  Pot- 
tery, II,  p.  492;  B.  M.  Cat.  R.  P.,  p.  xx),  places  some  of  them,  at  least,  in 
Class  II  (B.  M.  Cat.  R.  P.,  p.  xxi).  The  purely  decorative  feeling  of  the 
potters  is  well  shown  by  fragments  in  Arezzo,  on  which  kalathiskos  dancers 
are  combined  with  boars,  and  by  a  fragmentary  vase  found  on  the  Esqui- 
line  Hill,  on  which  figures  of  Apollo  and  Artemis  appear  in  combination 
with  hunting  scenes  {Bull.  Comm.,  i,  1872-73,  p.  308,  no.  138). 


{d)  CHARIOT   SCENES 

Moulds 

82.  Fragment  of  a  mould  for  a  large  bowl.  H.  10.2  cm.  L.  13.8  cm. 
Reg.  98.874.  Ann.  Rep.,  1898,  p.  86,  no.  38.  Plate  XXVII. 

The  lower  field  was  decorated  with  alternating  conventional  leaves  and 
groups  of  flowers  on  long  stems,  but  only  a  part  of  one  leaf  and  two  flowers 
are  preserved.  On  either  side  of  the  leaf  is  a  group  of  three  bosses.  The 
upper  field  is  bordered  at  the  top  by  a  row  of  bosses  and  a  band  of  con- 
ventional laurel  leaf  pattern ;  at  the  bottom  it  is  set  off  from  the  lower  field 
only  by  the  ground  lines  below  the  principal  figures. 

The  subject  was  a  race  of  two-horse  chariots  driven  by  Cupids.  One  biga 
is  almost  completely  preserved.  The  horses  are  modelled  with  consider- 
able care,  galloping  to  the  right.  Girths,  breast  bands,  bridles,  and  reins 
are  summarily  indicated.  Below  the  horses  three  plant  stalks  rise  from 
the  ground.  The  chariot  has  a  large  wheel  with  eight  spokes  and  a  low 
box  on  which  is  a  rather  sketchy  scroll  pattern.  In  the  box  stands  a  Cupid, 
leaning  forward  with  knees  bent.  His  left  hand  is  extended,  holding  the 
reins,  his  right  is  drawn  back  and  holds  a  short  whip  by  the  middle. 
Around  his  neck  is  fastened  a  chlamys,  which  blows  out  behind.  At  the 
left,  the  head  and  the  forelegs  of  one  of  the  horses  of  a  second  biga  appear. 

Cf .  the  note  on  no.  87. 

[83] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

83.  Fragment  of  a  mould  with  groups  similar  to  those  of  no.  82,  but 
made  with  smaller  and  less  carefully  modelled  stamps.  H.  7.5  cm.  L. 
8.1  cm.  Reg.  98.873.  Ann.  Rep.,  1898,  p.  86,  no.  37.  Plate  XXVII. 

At  the  top  of  the  principal  field,  a  row  of  bosses  and  a  conventional  laurel 
leaf  pattern;  at  the  bottom,  indication  of  the  ground,  with  plant  stalks 
springing  from  it. 

The  greater  part  of  one  biga  is  preserved.  The  horses,  galloping  to 
right,  show  little  modelling  of  details,  but  the  girth,  the  breast  band 
(decorated  with  knobs),  and  the  bridle  of  the  nearer  horse  are  carefully 
indicated.  The  chariot  has  a  six-spoked  wheel,  the  front  of  the  box  is 
decorated  with  a  palmette.  The  Cupid  leans  far  back,  and  gazes  upward. 
Both  his  hands  are  extended  in  front  of  him,  grasping  reins  and  whip. 
The  reins  are  very  badly  rendered  by  four  broad  wavy  lines,  carelessly 
drawn. 

Cf.  the  note  on  no.  87. 

84.  Small  fragment  of  a  mould  for  a  low  bowl,  decorated  with  groups 
similar  to  that  of  no.  83,  but  on  a  still  smaller  scale.  H.  4.5  cm.  L.  9.5  cm. 
Reg.  98.872.   Ann.  Rep.,  1898,  p.  86,  no.  36. 

At  the  top  of  the  field,  a  row  of  bosses  and  a  tongue  pattern. 

Parts  of  two  bigas  galloping  to  the  right  are  preserved.  Of  the  first 
only  the  hind  legs  of  the  horses,  the  six-spoked  wheel  of  the  chariot,  a 
small  part  of  the  pole  and  the  box,  and  part  of  the  drapery  of  the  driver 
are  preserved.  Of  the  second,  most  of  the  horses,  the  head,  shoulders,  arms, 
and  part  of  the  wings  of  the  driver  appear;  he  leans  far  forward,  grasping 
the  reins  in  his  extended  hands.  Above  the  horses,  the  inscription  {"fHtg^ 
Phikr{os)  C.  Telli.  Iffiu 

Cf.  the  note  on  no.  87;  and  for  the  inscription,  C.  I.  L.,  xi,  6700, 
669,  b  (where,  however,  C.  TELLI  stands  above  PHIER). 

Vases 
83.  Fragment  of  a  low  bowl,  with  design  similar  to  that  of  no.  84  (the 
mould  from  which  it  was  made  might  have  been  produced  with  the 
same  stamps  that  were  used  for  no.  84).    H.  7.1  cm.    L.  6.8  cm.    Reg. 
98.875.    Ann.  Rep.,  1898,  p.  87,  no.  39. 

[  84  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

At  the  top  of  the  field,  a  trace  of  a  tongue  pattern,  at  the  bottom  two 
plain  mouldings. 

Of  the  single  biga  which  is  partially  preserved,  the  foreparts  of  the  horses 
are  lost.  The  chariot  and  the  driver,  however,  are  complete.  The  chariot 
has  a  very  low  box,  the  Cupid  stands  with  knees  bent,  leaning  forward. 
He  wears  a  long  robe,  which  flies  out  behind.  Behind  the  chariot  are  three 
tapering  metae  decorated  with  very  simple  designs.  The  one  which  is 
completely  preserved  is  surmounted  by  a  pine  cone. 

Cf.  the  note  on  no.  87. 

86.  Fragment  of  a  low  bowl,  with  figures  of  the  same  dimensions  as  those 
of  no.  85.  H.  6.1  cm.  L.  5.6  cm.  Reg.  98.805.  Ann.  Rep.,  1898,  p.  87, 
no.  40.  Pl.\te  XXIX. 

At  the  top  of  the  field,  part  of  a  tongue  pattern;  at  the  bottom,  indica- 
tion of  the  ground,  with  plant  stalks  rising  from  it. 

The  horses  of  one  biga,  with  the  arms  and  part  of  the  head  of  the  driver, 
are  preserved.  In  front  of  the  horses,  a  meta  like  those  on  no.  85  is  com- 
pletely preserved. 

Cf.  the  note  on  no.  87. 

87.  Small  fragment  of  a  similar  bowl.  H.  4.7  cm.  L.  4  cm.  Reg.  98.806. 
Ann.  Rep.,  1898,  p.  87,  no.  41. 

Below  the  principal  field,  two  plain  mouldings.  The  horses  of  one  biga 
are  almost  completely  preserved.  In  front  of  them,  parts  of  the  wheel  of  a 
chariot  and  the  flying  drapery  of  the  driver  appear. 

Cf.  Fabroni,  pi.  in,  7;  Loeb  Coll.,  nos.  143-149,  pis.  xi  and  xvii.  The 
subject  —  a  chariot  race  in  which  the  drivers  are  Cupids,  often  with 
metaj  and  other  paraphernalia  to  suggest  the  Roman  circus  —  is  fre- 
quently found  on  other  classes  of  monuments,  notably  on  small  sar- 
cophagi intended  for  children;  cf.  Amelung,  Die  Sculpturen  des  Vatika- 
nischen  Museums,  i,  pi.  32,  no.  8,  and  pi.  65,  no.  456.  On  the  mural  reliefs, 
though  the  races  in  the  circus  are  represented  in  forms  that  sometimes 
suggest  the  Arretine  designs,  the  type  with  Cupids  as  drivers  does  not 
occur;  cf.  von  Rohden-Winnefeld,  pp.  138/. 

[85  ] 


'A  CATALOGUE  OF  ARRETINE  POTTERY 

(e)   CUPIDS   WITH   FESTOONS 

Moulds 

88.  Unbroken  mould  for  a  bowl  of  medium  size.  H.  8.7  cm.  D.  16.7 
cm.  Reg.  04.28.  Ann.  Rep.,  1904,  p.  61,  no.  13.  Plate  XVIII. 

The  lower  field  is  set  off  from  the  main  field  by  a  row  of  bosses.  It  is 
bordered  below  by  a  band  of  conventional  laurel  leaf  pattern,  and  deco- 
rated with  thirteen  flowers,  pointing  downwards.  The  main  field  has  a 
band  of  rosettes  at  the  top. 

The  main  field  is  divided  into  three  parts  by  three  exactly  similar 
Cupids  moving  toward  the  right.  Each  has  the  legs  in  profile,  the  upper 
body  turned  so  as  to  show  both  shoulders,  the  head  almost  in  front  view, 
but  turned  slightly,  so  that  the  gaze  is  directed  downwards  and  toward  the 
left.  Only  the  left  wing  is  visible,  the  left  arm  is  raised  and  the  hand  grasps 
the  handle  of  an  amphora,  which  rests  on  the  left  shoulder;  the  right 
arm  is  thrown  out  behind.  Over  the  arms  a  small,  shawl-like  robe  is  sum- 
marily indicated.  The  spaces  between  the  Cupids  are  filled  with  heavy 
festoons  of  grapevine,  naturalistically  rendered. 

Below  each  of  the  Cupids  is  a  patera,  decorated  by  a  rosette,  and  above 
the  centre  of  each  festoon  is  a  tragic  mask  in  profile  to  right,  suspended 
from  the  band  of  rosettes  at  the  top  of  the  field. 

Above  the  festoon  at  one  point,  the  inscription  Eros,  and  directly  oppo- 
site Rasin{i). 

Cupids  with  festoons  form  one  of  the  favorite  subjects  of  the  Arretine 
potters;  cf.  Fabroni,  pi.  i,  6;  Loeb  Coll.,  no.  306,  pi.  viii.  They  occur  fre- 
quently on  other  classes  of  Roman  monuments:  cf.  for  marble  reliefs, 
the  series  of  slabs  in  the  Gabinetto  delle  Maschere  in  the  Vatican  (Amelung, 
Sculpturen  des  Vatikanischen  Museums,  ii,  p.  679,  no.  426a,  pi.  78,  and 
other  pieces  on  the  following  pages  and  plates);  for  sarcophagi,  Robert, 
Die  antiken  Sarkophag-Reliefs,  ii,  pi.  li,  lx,  and  iii,  pi.  LXiii,  and  Altmann, 
Architedur  und  Ornamentik  der  antiken  Sarkophage,  pp.  74  ff. ;  for  mural 
reliefs,  von  Rohden-Winnefeld,  pp.  187-189,  pi.  lix  and  cxxiv,  1.  The 
slave's  name  Eros,  so  far  as  I  am  aware,  has  not  been  noted  before  for  the 
factory  of  Rasinius.  For  the  form  of  the  signature  Eros,  cf.  C.  I.  L.,  xi, 
6700,  278,  b;  for  the  form  of  the  signature  Rasin(i),  ibid.,  6700,  520,  a. 

[86] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

89.  Unbroken  mould  for  a  bowl  of  medium  size.  H.  8.5  cm.  D.  16.4 
cm.  Reg.  04.27.  Arm.  Rep.,  1904,  p.  61.  no.  14.  Plate  XVIII. 

The  lower  field,  which  is  undecorated,  is  set  off  from  the  main  field  by 
a  band  of  large  rosettes,  and  bordered  below  by  a  conventional  laurel  leaf 
pattern,  with  berries  indicated  by  small  bosses.  The  principal  field  is  deco- 
rated at  the  top  with  a  vine  between  rows  of  bosses.  The  vine  is  made  up 
of  bunches  of  grapes,  with  grape  leaves  below  and  ivy  leaves  above  them. 

The  principal  field  is  divided  into  three  parts  by  Cupids,  exactly  similar 
in  all  respects  to  those  of  no.  88.  Between  them  are  festoons  of  conven- 
tional laurel  leaf  pattern,  to  which  are  attached  long  pendants  (in  two 
cases,  eight,  in  one  case,  nine),  which  imitate  metal  work.  Above  each 
festoon  is  a  large  mask  representing  a  satyr  in  front  view,  from  which 
a  long  fillet  extends  into  the  field  on  either  side. 

Cf.  the  note  on  no.  88. 

Vases 

90.  Fragment  of  a  large  bowl  with  nearly  straight  sides.  H,  8.3  cm. 
L.  9.1  cm.  Reg.  98.826.  Ann.  Rep.,  1898,  p.  89,  no.  61.   Plate  XXX. 

At  the  top,  a  small  part  of  the  lip,  with  hatching  at  the  base,  is  preserved. 
The  principal  field  is  bordered  at  the  top  by  small  bosses  (a  single  boss 
alternating  with  pairs  of  bosses  placed  one  above  the  other),  and  at  the 
bottom  by  a  band  of  four-petalled  roses. 

The  principal  field  was  divided  into  parts  by  large  conventional  orna- 
ments, one  of  which  is  largely  preserved  (at  the  right-hand  side  of  the 
fragment).  It  consists  of  a  twisted  pillar  on  a  low  base,  surmounted  by 
a  knotted  lion's  skin  and  a  triangular  ornament  with  five  ribs.  This  tri- 
angular ornament  has  a  four-petalled  rose  at  the  top  and,  on  either  side, 
the  forepart  of  a  prancing  horse  (only  the  horse  at  the  left  is  completely 
preserved).  Above  is  the  signature  P.  Cornel{i).  To  the  horses'  ^(XyRfXl 
heads  elaborate  festoons  of  fruit  and  flowers  were  attached  by   ^  ' 

simple  fillets.  One  of  these  festoons  is  largely  preserved;  it  resembles 
closely  the  festoons  of  nos.  115  and  116.  At  the  centre  of  the  festoon  is  a 
Cupid,  who  seems  to  be  holding  it  up.  He  is  in  profile  to  right,  with  his 
upper  body  bent  backwards  as  if  he  were  holding  a  heavy  weight. 

Cf.  the  note  on  no.  88;  and  for  the  inscription,  C.  I.  L.,  xi,  6700,  204,  ee. 

[  87  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(f)  MISCELLANEOUS  FIGURE  SUBJECTS 

Aloulds 

91.  Unbroken  mould  for  a  bowl  of  medium  size.  H.  8.9  cm.  D.  17.8 
cm.  Reg.  04.30.  Ann.  Rep.,  1904,  p.  61,  no.  18.  Plate  XIX. 

A  narrow  lower  field  is  set  off  from  the  principal  field  by  a  plain  mould- 
ing and  bounded  at  the  bottom  by  a  row  of  bosses  and  a  plain  moulding. 
It  is  decorated  with  a  conventional  laurel  leaf  pattern. 

The  principal  field  is  bordered  at  the  top  by  a  rope  pattern  and  a  gar- 
land of  fruits  and  flowers.  It  is  divided  into  three  parts  by  large  twisted 
pillars,  with  bases  and  capitals.  Above  the  capital,  in  all  three  cases,  is  a 
large  disc,  decorated  with  small  pointed  leaves.  From  each  disc  a  waving 
fillet  extends  into  the  field.  To  the  capital  of  each  pillar  a  festoon  of  leaves 
and  fruits  is  attached  by  a  cord  on  each  side,  so  that  the  festoons  fill  the 
three  parts  of  the  field.  The  festoons  were  all  impressed  in  the  mould  with 
a  single  short  stamp  and  the  spaces  between  the  separate  sections  are 
filled  in  several  cases  by  a  small  bee.  At  the  centre,  each  festoon  is  broken 
by  a  large  female  figure  in  profile  to  left.  The  woman  has  the  right  foot 
slightly  raised.  Her  arms  are  extended  and  in  her  right  hand  she  holds  a 
fruit  (apple.''  pomegranate?),  which  she  appears  to  have  taken  from  the 
garland  at  the  top  of  the  field.  She  wears  a  Doric  chiton,  a  himation,  and 
bracelets,  and  has  her  hair  bound  with  a  fillet.  In  front  of  one  of  these 
figures,  near  the  top  of  the  field,  is  the  inscription  Primus,  and  exactly 
opposite  is  the  second  inscription,  P.  Corneli. 

For  the  inscription  Primus,  cf.  C.  I.  L.,  xi,  6700,  244,  a;  for  the  inscrip- 
tion P.  Corneli,  C.  I.  L.,  xi,  6700,  204,  ee. 

92.  Almost  one  haK  of  a  mould  for  a  bowl  of  medium  size.  H.  9  cm. 
D.  17.3  cm.  Reg.  98.869.   A7in.  Rep.,  1898,  p.  85,  no.  33.  Plate  XIX. 

The  field  is  bordered  at  the  top  by  a  row  of  bosses  and  a  tongue  pattern, 
at  the  bottom,  by  two  plain  mouldings. 

At  the  right  of  the  centre  of  the  fragment  stands  a  herm  of  Dionysus, 
in  profile  to  left,  on  a  high  base.  The  herm  has  the  form  of  a  pillar  with 
head  and  arms.  It  is  draped  in  chiton  and  himation.  The  head  is  bearded. 
The  left  arm  hangs  by  the  side,  the  right  is  raised  and  grasps  a  long,  knotted 

[  88  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

staff.  The  high  base  is  decorated  with  two  cross-hatched  bands  which 
form  diagonals;  at  the  point  where  they  intersect  is  a  boss.  Under  the  base, 
rocky  ground  is  indicated. 

At  the  left  of  the  herm,  the  first  figure  is  a  woman  facing  left.  Her  legs 
are  in  profile,  but  her  upper  body  is  turned  so  that  the  shoulders  are  in  front 
view,  the  head  in  three  quarters.  She  wears  a  long,  sleeved  chiton,  and  a 
himation,  caught  up  by  a  girdle  at  the  waist.  Her  hair  is  confined  by  a 
veil.  Her  left  hand  is  raised  and  holds  a  flat  plate,  her  right  is  lowered  and 
extended  toward  the  next  figure.  This  is  also  a  woman.  She  is  in  profile  to 
right,  bending  forward  and  grasping  with  her  right  hand  the  bristles  of  a 
pig,  which  pulls  away  toward  the  right.  This  woman  wears  a  sleeveless 
chiton  and  a  himation  which  is  wound  about  her  waist.  Her  raised  left 
hand  holds  a  flat  plate,  above  which  three  lumps  suggest  offerings.  Above 
the  heads  of  the  two  women  is  the  signature  C.  Telli.  At  each  corner  of 
the  tablet  which  bears  the  inscription  is  a  double  boss. 

Behind  the  woman  with  the  pig  (to  the  left),  part  of  the  figure  of  a 
bearded  satyr  is  preserved.  His  upper  body  is  nude,  but  part  of  a  loin 
cloth,  knotted  at  the  waist,  is  preserved.  His  arms  are  raised,  and  in  his 
hands  is  a  double  flute  (one  pipe  curving  upward  at  the  end),  which  he  is 
playing.  Except  for  traces  of  a  beard,  the  head  is  destroyed. 

At  the  extreme  right-hand  side  of  the  fragment,  behind  the  herm  of 
Dionysus,  the  upper  part  of  the  figure  of  a  child  in  front  view  and  the 
head  of  an  adult  figure  facing  left  appear. 

The  subject  appears  to  be  a  sacrifice  to  Dionysus,  but  so  long  as  the 
rest  of  the  composition  is  unknown,  it  is  impossible  to  determine  whether 
this  was  the  subject  of  the  whole;  cf.  Loeb  Coll.,  no.  172,  pi.  xvm.  For  the 
inscription,  cf.  C.  /.  L.,  xi,  6700,  660,  a. 

93.  From  a  mould  for  a  large  bowl.  H.  9.5  cm.  L.  9  cm.  Reg.  13.150. 
Ann.  Rep.,  1913,  p.  95.  Plate  XXVH. 

At  the  top  of  the  field,  a  plain  moulding,  a  band  of  eggs,  and  a  conven- 
tional laurel  leaf  pattern  (the  last  two  broken  by  the  head  of  the  figure) ; 
at  the  bottom,  part  of  a  band  of  conventionalized  flowering  plants. 

In  the  field  a  battlemented  tower,  pierced  by  an  arched  gateway,  is  al- 
most completely  preserved.  From  the  top  of  the  tower  a  woman  leans  out 

189] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

towards  the  right,  with  both  arms  extended.  Her  hands  are  closed,  but 
apparently  hold  nothing,  unless  a  small  lump  above  the  right  hand  is 
meant  to  represent  some  object.  She  wears  a  close-fitting,  sleeved  chiton 
and  has  her  hair  confined  by  a  net.  In  front  of  her,  part  of  a  loop  of  con- 
ventional laurel  leaf  pattern  appears,  and  behind  her  the  signature  A. 
Ter(enti). 

A  fragment  described  by  DragendorflF  (B.  J.,  xcvi,  1895,  p.  79)  as 
showing  "perspectivisch  einen  von  Zinnen  bekronten  Thurm  aus  grossen 
Quadern  erbaut"  probably  came  from  a  similar  representation.  The  sub- 
ject may  have  been  the  story  of  Hero  and  Leander.  The  figure  leaning 
from  the  tower  certainly  presents  a  striking  similarity  to  the  figure  of 
Hero  on  coins  of  Sestos  and  Abydos  (cf.  for  Sestos,  B.  M.  Cat.  Coins, 
Thrace,  p.  200,  no.  18;  for  Abydos,  ibid.,  Troas,  p.  7,  no.  60,  pi.  iii,  2),  on 
contorniates  (cf.  Cohen,  Monnaies  frappees  sous  VEmpire  romain,  viii, 
p.  297,  no.  198),  and  on  gems  (cf.  King,  Antique  Gems  and  Rings,  ii,  p.  78, 
no.  9,  pi.  II,  9).  In  these  examples.  Hero  leans  from  her  tower,  holding  a 
lamp,  Leander  swims  towards  her  through  the  waves  of  the  Hellespont; 
both  figures  are  sometimes  identified  by  inscriptions,  so  that  there  can  be 
no  doubt  of  the  interpretation.  For  the  inscription,  cf.  C.  /.  L.,  xi,  6700, 
671,  c. 

Vases 

94.  Fragment  of  a  large  bowl.  H.  7.8  cm.  L.  9.1  cm.  Reg.  88.597. 
Robinson,  Cat.  no.  588.  Plate  XXX. 

At  the  top  of  the  fragment  a  small  part  of  the  rim,  with  hatching  at 
the  bottom,  is  preserved.  At  the  top  of  the  principal  field  is  a  row  of  bosses 
and  an  egg  and  dart. 

At  the  centre  of  the  fragment,  in  the  main  field,  is  a  large  ornament 
which  resembles  a  knotted  fillet,  with  a  pendant  attached  to  it;  below  this 
is  a  single  boss.  To  this  ornament  are  attached  loops  of  conventional  laurel 
leaf  pattern,  which  are  broken  by  the  figures.  Of  these  two  are  partly  pre- 
served. At  the  left  is  a  nude  male  figure.  The  body  is  in  front  view,  but 
the  head  is  turned  so  that  it  is  in  profile  to  left.  The  right  hand  grasps  a 
spear,  the  left  is  lowered  and  rests  on  the  rim  of  a  shield,  which  stands  on 
the  ground,  and  has  hatching  on  the  rim  and  a  boss  at  the  centre.  At  the 

[90] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

right  is  a  bearded  man  in  profile  to  left,  gazing  at  the  young  warrior.    He 
is  seated  and  leans  forward,  resting  his  elbows  on  his  thighs.    Over  the 
left  arm  is  a  bit  of  drapery.  Still  farther  to  the  right,  an  indeterminate 
object. 
Cf.  Loeb  Coll.,  no.  102,  pi.  xvi. 

95.  Fragment  of  a  large  bowl.  H.  7.6  cm.  L.  6.8  cm.  Reg.  03.862. 

At  the  top,  a  small  part  of  the  lip,  with  a  plain  moulding  at  the  bottom, 
is  preserved.  At  the  top  of  the  principal  field,  a  row  of  small  bosses. 

A  large  part  of  the  main  field  is  occupied  by  an  elaborate  acanthus 
scroll,  which  evidently  rose  from  the  ground  line.  Near  the  lower  end  of 
the  scroll,  a  large  poppy  head  is  attached  to  it  on  the  right.  At  the  left  of 
the  scroll  is  a  large  double  rosette,  with  a  conventional  laurel  leaf  pattern 
running  from  it  towards  the  top  and  the  bottom  of  the  field,  and  beyond 
this,  part  of  a  second  acanthus  scroll  is  visible.  Above  the  first  scroll  is  the 
forepart  of  a  dog,  emerging  from  a  wreath  of  acanthus  leaves,  and  at  the 
right  of  the  scroll,  part  of  the  figure  of  a  female  dancer  is  visible.  She  is  in 
profile  to  left,  and  has  her  right  arm  bent  at  the  elbow;  the  hand  doubtless 
rested  on  the  breast. 

96.  Small  fragment  of  a  large  bowl,  put  together  from  two  pieces.  H. 
6.3  cm.  L.  6.1  cm.  Reg.  88.602.  Robinson,  Cat.  no.  596. 

At  the  top  of  the  principal  field,  hatching  and  an  indeterminate  pat- 
tern; at  the  bottom,  groups  of  bosses  forming  a  rosette  pattern  and  a  plain 
moulding. 

Of  the  figures,  only  the  hind  quarters  of  a  horse  in  profile  to  left  and  the 
right  forearm  and  the  left  knee  of  a  man  who  appears  to  be  in  pursuit  of 
him  are  preserved. 

(g)  ANIMALS 

Vases 

97.  Fragment  of  a  large  bowl  with  nearly  straight  sides.  H.  6.6  cm. 
L.  5.9  cm.   Reg.  88.599.  Robinson,  Cat.  no.  600.   Plate  XXX. 

At  the  bottom  of  the  main  field,  part  of  a  band  of  rosettes  and  two  plain 
mouldings. 

[91] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

In  the  main  field,  a  stag,  seated  on  his  haunches  to  right,  raises  his  left 
foreleg  at  a  dog,  which  is  barking  at  him.  Only  the  head  and  neck  and  one 
foreleg  of  the  dog  are  preserved.  Under  the  feet  of  both  animals  rough  pro- 
jections suggest  rocky  ground. 

Cf.  Loeb  Coll.,  no.  207,  pi.  xii  (in  the  text,  p.  105,  the  stag  is  incorrectly 
called  an  ass). 

98.  Small  fragment  of  a  bowl.  H.  2.9  cm.  L.  5.7  cm.  Reg.  88.607. 
Robinson,  Cat.  no.  592.  Plate  XXX. 

Of  the  decoration,  nothing  is  preserved  except  the  figure  of  a  boar, 
seated  on  its  haunches,  in  profile  to  right.  The  modelling  is  careful. 

On  a  silver  bowl  from  Bosco  Reale  (Mon.  Piot,  v,  1899,  pp.  79-81,  pi. 
xv),  a  very  similar  squatting  boar  appears. 

(A)  STATUETTES 

Moulds 

99.  Unbroken  mould  for  a  small  bowl.  H.  5.6  cm.  D.  11.5  cm.  Reg. 
98.812.   Ann.  Rep.,  1898,  p.  88,  no.  47.  Plate  XX. 

At  top  and  bottom  the  field  is  bordered  by  a  row  of  bosses  and  a  plain 
moulding.  Near  the  top  is  a  conventional  laurel  leaf  pattern,  broken  at 
intervals  by  the  figures. 

The  field  is  divided  into  six  triangular  spaces  by  six  pairs  of  plain  mould- 
ings, which  run  obliquely  from  the  laurel  leaf  pattern  to  the  moulding  at 
the  bottom.  The  points  where  they  meet  are  marked  by  large  bosses  with 
cross  hatching.  Three  of  the  six  spaces  are  decorated  with  a  figure  of  the 
youthful  Dionysus.  He  stands  on  a  large  flower,  from  each  outer  corner  of 
which  rises  an  ear  of  wheat  on  a  curving  stem.  The  Dionysus  is  in  front 
view,  with  right  leg  firm  and  left  leg  placed  to  one  side.  He  wears  a  chiton 
which  reaches  only  to  the  knees,  and  high  boots.  His  left  hand  is  raised 
and  rests  on  a  long  sceptre,  his  right  is  lowered  and  holds  a  bunch  of 
grapes.  In  the  other  three  spaces  is  a  small  herm  of  the  bearded  Dionysus 
in  profile  to  left,  draped  in  a  long  robe.  The  left  hand  rests  on  the  hip,  the 
right  is  extended  and  holds  an  indeterminate  object. 

Cf.  Fabroni,  pi.  11,  3;  Loeb  Coll.,  nos.  220  and  221,  pi.  xx. 

[  92  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

100.  Fragment  of  a  mould  for  a  small  bowl.  H.  4  cm,  L.  5  cm,  Reg, 
98.825.  Ann.  Rep.,  1898,  p.  89,  no.  60. 

At  the  top  of  the  field,  a  row  of  bosses  and  a  conventional  laurel  leaf 
pattern. 

Of  the  decoration  only  a  small  part  has  been  preserved;  at  the  left  of  the 
fragment,  part  of  an  acanthus  ornament,  surmounted  by  a  bell-shaped 
flower  and  a  small,  kneeling  satyr  in  profile  to  left,  holding  a  cornucopia 
on  his  bent  left  arm;  at  the  right,  a  rose  and  a  bud  from  a  second  scroll. 

For  the  kneeling  satyr,  cf.  Loeb  Coll.,  no.  1,  pi.  i;  no.  217,  pi.  xii;  and 
no.  222,  pi.  XXI. 

Vases 

101.  Fragment  of  a  large  bowl.  H.  7.8  cm.  L.  12.8  cm.  Reg.  88.595. 
Robinson,  Cat.  no.  603. 

The  lower  field  is  divided  from  the  main  field  by  a  band  of  large  rosettes, 
•  and  bordered  below  by  a  conventional  laurel  leaf  pattern.  It  is  decorated 
with  alternating  ears  of  wheat  and  large  scrolls.  The  scrolls  resemble  a  pair 
of  Ionic  volutes;  inside  of  each  is  a  conventional  leaf. 

In  the  principal  field  is  a  small  Cupid  standing  in  profile  to  right,  on  a 
flower.  From  the  flower,  scrolls  rise  obliquely  into  the  field.  At  the  right, 
the  bottom  of  an  elaborate  pattern  is  preserved.  It  begins  with  a  small 
vase,  flanked  on  either  side  by  a  pointed  staff  with  spirals,  rising  obliquely 
into  the  field;  above  the  vase  is  a  bell-shaped  flower,  and  above  this  the 
beginning  of  an  acanthus  leaf  can  be  made  out.  At  the  left  of  the  Cupid, 
part  of  a  similar  ornament  is  visible. 

(i)    MASKS,   HEADS,   BUCRANIA,   PAIRS   OF  ANIMALS,   ETC. 

Moulds 

102.  Mould  for  a  large  bowl.  Put  together  from  three  fragments,  but 
complete  except  for  one  small  triangular  piece  and  chipping  about  the  foot. 
H.  13.2  cm.  D.  23  cm.  Reg.  00.317.  Ann.  Rep.,  1900,  p.  84,  no.  2.  Plate 
XXI. 

The  lower  field  is  set  off  from  the  principal  field  by  two  plain  mouldings 
and  a  rope  pattern,  and  bordered  below  by  two  plain  mouldings  and  a  row 

[93] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

of  bosses.  It  is  decorated  with  thirteen  large  rosettes.  The  principal  field 
has  at  the  top  a  row  of  bosses  and  an  egg  and  dart  moulding,  and  just 
below  the  latter,  a  band  of  conventional  laurel  leaf  pattern. 

The  main  field  is  divided  into  four  parts  by  large  crossed  thyrsi,  which 
end  below  in  small  knobs,  to  which  large  cross-hatched  bosses  or  pine  cones 
are  attached.  Where  the  thyrsi  cross  they  are  fastened  together  by  large 
knotted  fillets,  and  from  the  points  of  intersection  a  branch  of  grapevine, 
with  two  leaves,  a  bunch  of  grapes,  and  long  tendrils  is  suspended.  In  the 
field  above  the  point  of  intersection,  there  is  in  each  case  a  large,  six- 
petalled  flower. 

In  the  four  fields  thus  set  off,  the  scheme  of  the  decoration  is  in  all  cases 
the  same,  though  there  are  differences  in  detail.  In  each  field  a  loop  of 
conventional  laurel  leaf  pattern  runs  from  thyrsus  to  thyrsus,  the  ends 
being  attached  near  the  tops  of  the  thyrsi  by  cords  which  end  in  large 
tassels,  and  from  each  of  these  loops  of  pattern  nine  long  pendants  with 
cross  hatching  are  suspended.  The  space  above  the  loops  of  pattern  is 
filled  in  each  case  by  a  large  mask;  two  represent  bearded  satyrs  and  two 
very  youthful  satyrs.  The  modelling  in  all  cases  is  extremely  careful. 
The  bearded  satyrs  are  bald,  with  wreaths  of  ivy  leaves  and  berries  bound 
about  the  brows;  the  youthful  satyrs  have  similar  wreaths,  partially  con- 
cealed by  large  leaves  or  kerchiefs,  and,  below  the  chins,  large  necklaces 
or  garlands.  At  opposite  points,  near  the  top  of  the  field,  are  the  signa- 
tures, Quartio  and  Rasin(i). 

For  a  similar  scheme  of  ornamentation,  cf.  Loeb  Coll.,  no.  223,  pi.  vii 
(signed  by  Certus  as  slave  of  Rasinius) ;  and  for  exact  replicas  of  the  two 
types  of  masks,  ibid.,  nos.  248  and  265,  pi.  xx.   For  the  inscription,  cf. 

C.  I.  L.,  XI,  6700,  545. 

103.  Mould  for  a  bowl  of  medium  size.  Put  together  from  four  pieces, 
but  complete  except  for  chipping  at  the  edges  of  the  breaks.    H.  10  cm. 

D.  21  cm.  Reg.  04.25.   Ann.  Rep.,  1904,  p.  61,  no.  16. 

The  decoration  is  made  up  of  the  same  elements  as  that  of  no.  102,  and 
was  produced  with  the  same  stamps. 

At  the  bottom  is  a  very  narrow  lower  field,  bordered  below  by  a  plain 
moulding  and  above  by  a  plain  moulding  and  a  conventional  laurel  leaf 

[  94  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

pattern,  and  decorated  with  rosettes  and  palmettes  laid  on  their  sides. 
At  the  top  of  the  principal  field  is  a  pattern  of  pairs  of  ivy  leaves  alternat- 
ing with  single  grape  leaves,  bordered  below  by  a  plain  moulding  and  above 
by  a  row  of  bosses. 

The  principal  field  is  divided  into  four  parts  by  pairs  of  crossed  thyrsi, 
connected  by  loops  of  conventional  laurel  leaf  pattern.  The  loops  are  at- 
tached near  the  tops  of  the  thyrsi  by  cords  which  end  in  large  tassels,  and 
from  each  loop  hang  leaf-shaped  pendants  with  cross  hatching  (in  two 
cases  five,  in  one  case  six,  in  one  case  seven).  Above  these  in  every  case  are 
two  bell-shaped  flowers,  attached  by  curving  stems  to  the  moulding  at  the 
top  of  the  field;  and  between  these  is  a  disc  decorated  with  small,  over- 
lapping leaves  and  surrounded  by  groups  of  three  bosses  (berries?)  on 
short,  straight  stems.  Where  the  thyrsi  cross  they  are  fastened  by  large 
knotted  fillets,  and  from  these  points  of  intersection,  a  branch  of  grape- 
vine with  two  leaves,  a  bunch  of  grapes,  and  long  tendrils  is  suspended. 

In  the  four  fields  thus  distinguished  are  large  masks  (two  bearded 
satyrs  and  two  youthful  satyrs)  exactly  similar  in  all  details  to  those  on 
no.  102.  Above  each  head  a  loop  of  conventional  laurel  leaf  pattern  con- 
nects the  points  of  the  thyrsi  on  either  side;  below  each  of  the  two  youthful 
satyrs  is  a  rosette. 

Cf.  the  note  on  no.  102. 

104.  Mould  for  a  large  bowl.  Unbroken.  H.  9.3  cm.  D.  19  cm.  Reg. 
98.807.  Ann.  Rep.,  1898,  p.  87,  no.  42.  Plate  XX. 

The  decorative  patterns  at  the  bottom  are:  plain  moulding,  band  of 
rosettes,  plain  moulding,  frieze  of  notched  leaves  alternating  with  flowers 
(or  seed  pods)  on  curving  stems,  plain  moulding.  Above  the  main  field: 
band  of  alternating  eggs  and  pointed  staffs  with  spirals,  above  which, 
row  of  bosses. 

In  the  main  field  are  four  masks  of  satyrs,  crowned  with  ivy  leaves  and 
berries.  Between  these  are  garlands  of  ivy  leaves,  grape  leaves,  and  bunches 
of  grapes.  From  the  points  where  the  garlands  are  attached  to  the  masks 
hang  single  flowers  (or  seed  pods)  on  long  curving  stems.    Above  the 


garlands,  at  exactly  opposite  points,  the  signatures  Bargaihi  Ki\\(Q[\f{n 

.   ^  a I i 

and  rerenni. 

[95  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

For  the  inscription  Perenni,  cf.  C.  I.  L.,  xi,  6700,  435,  g,  h;  and  for 
Bargates  as  slave  of  Perennius,  ibid.,  6700,  451  (none  of  the  forms  there 
recorded  is  exactly  like  that  of  no.  104). 

105.  Part  of  a  mould  for  a  large  bowl.  H.  11.5  cm.  L.  17.1  cm.  Reg. 
04.26.  Ann.  Rep.,  1904,  p.  61,  no.  17. 

The  decoration  is  similar  to  that  of  nos.  102  and  103,  and  many  of  the 
same  stamps  were  employed. 

Of  the  patterns  below  the  main  field,  several  are  partially  preserved. 
From  the  bottom  up,  they  are  as  follows:  frieze  of  notched  leaves  alter- 
nating with  seed  pods  on  curving  stems,  plain  moulding,  band  of  double 
rosettes,  band  of  cross-hatched  bosses.  Above  the  main  field:  row  of 
bosses,  band  of  laurel  leaves  and  berries,  pair  of  plain  mouldings. 

As  in  nos.  102  and  103,  the  main  field  was  divided  into  four  parts  by 
crossed  thyrsi.  The  tops  of  these  are  here  connected  by  loops  of  conven- 
tional laurel  leaf  pattern,  from  which  hang  long  pendants,  with  knobs 
at  the  ends  and  vertical  ribs  as  a  decoration  for  the  lower  half.  The  one 
group  that  is  completely  preserved  consists  of  seven  pendants.  Above 
in  the  field  is  a  large  rosette.  Where  the  thyrsi  cross  they  are  fastened 
together  by  a  large  knotted  fillet,  with  a  spray  of  grapevine  below.  Of 
the  four  fields  defined  by  the  thyrsi  only  two  are  preserved;  in  one  is  a 
mask  of  a  bearded  satyr,  in  the  other  a  mask  of  a  youthful  satyr;  so  that 
the  scheme  of  decoration  evidently  was  the  same  as  that  of  nos.  102  and 
103.  Above  each  mask,  a  loop  of  conventional  laurel  leaf  pattern  connects 
the  tops  of  the  adjacent  thyrsi. 

Cf.  the  note  on  no.  102. 

106.  Fragment  of  a  mould  for  a  large  bowl.  H.  9  cm.  L.  6.5  cm.  Reg. 
98.808.  Ann.  Rep.,  1898,  p.  87,  no.  43.  Plate  XXVII. 

Above  the  main  field,  a  tongue  pattern  and  a  row  of  bosses.  In  the  field, 
a  mask  of  a  bearded  satyr  crowned  with  ivy  leaves  and  berries  is  almost 
completely  preserved.  The  type  resembles  the  bearded  masks  of  nos. 
102,  103,  and  105,  but  is  on  a  larger  scale  and  more  carefully  modelled. 
Above,  the  signature  Atticus. 

Atticus  was  a  slave  of  L.  Annius;  cf.  C.  7.  L.,  11,  4970,  67;  xi,  6700,  65. 

[96  1 


A  CATALOGUE  OF  ARRETINE  POTTERY 

107.  Fragment  of  a  mould  for  a  bowl  of  medium  size.  H.  6.8  cm.  L. 
7.3  cm.  Reg.  98.809.  Ann.  Rep.,  1898,  p.  87,  no.  44. 

The  main  field  was  defined  below  by  a  pair  of  plain  mouldings.  Of  its 
decoration,  the  lower  part  of  the  mask  of  a  bearded  satyr,  a  small  portion 
of  a  wreath  of  ivy  leaves,  and  at  the  right  a  small  flower-pot  are  pre- 
served. 

108.  Fragment  of  a  mould  for  a  low  bowl.  H.  6.5  cm.  L.  7  cm.  Reg. 
98.810.  Ann.  Rep.,  1898,  p.  87,  no.  45.  Plate  XXVII. 

At  the  top  of  the  main  field,  a  tongue  pattern  and  a  row  of  bosses.  In  the 
field,  bordered  above  and  below  by  a  row  of  double  bosses,  is  a  comic 
mask  wreathed  with  ivy  leaves  and  berries,  at  either  side  of  which  part  of 
a  festoon  is  preserved.  Of  the  elements  of  which  the  festoon  is  composed, 
only  acorns  can  be  made  out  with  certainty. 

109.  Fragment  of  a  mould  for  a  bowl  of  medium  size.  H.  5.9  cm.  L. 
7.5  cm.  Reg.  03.860. 

At  the  top  of  the  principal  field,  a  tongue  pattern  and  a  row  of  bosses. 
In  the  field,  at  the  left,  is  a  tall,  slender  crater  on  a  high  foot  (lower  part 
of  body  ribbed,  upper  part  decorated  with  a  narrow  band  of  ornament 
about  centre;  on  lip,  vertical  grooves).  From  this  a  spray  of  leaves  and 
fruits  rose  obliquely  into  the  field  at  either  side.  The  component  parts 
are  not  very  clear;  little  can  be  made  out  except  pine  cones  and  an  acorn. 
Between  these  sprays  is  a  disc  with  cross-hatching.  At  the  right,  part  of 
another  spray  rises  obliquely,  no  doubt  from  a  similar  crater.  At  the  point 
where  this  spray  comes  close  to  the  spray  which  rises  from  the  left,  the  two 
are  separated  by  a  small  disc,  decorated  with  seven  small  rings,  and  from 
this,  on  a  knotted  fillet,  hangs  a  mask  of  a  youthful  satyr.     In 


the  upper  part  of  the  field,  at  the  right,  the  signature  Philer{os) 

The  slave's  name  Phileros  occurs  with  the  names  of  at  least  four  different 
potters:  C.  Annius  (C.  I.  L.,  xi,  6700,  53);  P.  Cornehus  (C.  /.  L.,  xi,  6700, 
239);  Memmius  (C.  I.  L.,  xi,  6700,  383);  and  C.  Tellius  (C.  I.  L.,  xi,  6700, 
669). 

no.  Fragment  of  a  mould  for  a  large  bowl.  H.  7.3  cm.  L.  7.7  cm. 
Reg.  98.815.  Ann.  Rep.,  1898,  p.  88,  no.  50. 

[97] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

At  the  top  of  the  principal  field,  a  row  of  bosses,  egg  and  dart,  and  a 
plain  moulding. 

In  the  field  are  slight  traces  of  two  masks  of  satyrs.  Between  them  is  a 
large  inverted  palmette  with  incurving  leaves.  Above  are  two  scrolls  ending 
in  spirals  (suggestive  of  two  pairs  of  Ionic  volutes),  between  which  is  a 
pine  cone.  Inside  the  scrolls,  in  one  case  part  of  a  rosette,  in  the  other 
a  disc  decorated  with  overlapping  pointed  leaves. 

III.  Mould  for  a  shallow  bowl  or  cup.  Unbroken.  H.  5.4  cm.  D. 
14.3  cm.  Reg.  04.36.  Ann.  Rep.,  190i,  p.  60,  no.  6.  Plate  XXII. 

The  single  field  for  decoration  is  bordered  below  by  a  row  of  bosses  and 
above  by  a  row  of  bosses  and  a  plain  moulding.  It  is  divided  into  four 
parts  by  small  bucrania,  each  of  which  has  a  large  fillet  attached  at  each 
side.  The  bucrania  are  connected  by  conventional  laurel  leaf  patterns, 
which  run  horizontally,  and  by  elaborate  festoons  of  fruit  and  flowers, 
naturalistic  in  effect,  but  so  summarily  modelled  that  the  component  parts 
cannot  be  surely  determined.  Acorns  are  the  only  forms  that  can  be 
named.  Each  festoon  was  produced  by  repeating  a  small  stamp  six 
times.  Above  the  centre  of  each  festoon  is  a  bird  holding  a  flower  in  its 
bill.  There  are  two  types  of  birds  which  alternate.  Between  the  festoon 
and  the  laurel  leaf  pattern,  at  exactly  opposite  points,  are  the  signatures 
M.  Perenini)  and  Tigrani. 

For  a  similar  scheme  of  decoration,  cf.  Loeh  Coll.,  no.  224,  pi.  xii.  Fes- 
toons attached  to  ox-skulls  form  a  favorite  device  in  the  art  of  the  Early 
Imperial  period:  cf.  Petersen,  Ara  Pads  Augustoe,  pp.  38-48,  figs.  23-25, 
and  pi.  II ;  Altmann,  Architectur  und  Ornamentik  der  antiken  Sarkophage, 
pp.  66  ff. ;  Die  romischen  Grabaltdre  der  Kaiserzeit,  pp.  59  ff.  For  the  in- 
scription, cf.  C.  I.  L.,  XI,  6700,  450,  n. 

113.  Mould  for  a  small  cup  with  flaring  lip.  Unbroken.  H.  4.9  cm. 
D.  8.4  cm.  Reg.  04.37.  Ann.  Rep.,  1904,  p.  61,  no.  19. 

The  lower  part  is  undecorated.  Above,  a  narrow  field  is  bordered  below 
by  a  band  of  conventional  laurel  leaf  pattern  and  a  plain  moulding  and 
above  by  a  plain  moulding,  a  band  of  separate  flowers  pointing  upwards, 
and  a  row  of  bosses.  The  field  is  divided  into  four  parts  by  small  bucrania, 

[  98  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

and  the  space  between  each  pair  of  bucrania  is  filled  by  a  very  simple 
festoon,  consisting  in  each  case  of  a  bunch  of  grapes  and  a  grape  leaf  be- 
tween single  ivy  leaves  with  tendrils. 
Cf.  the  note  on  no.  111. 

113.  Fragment  of  a  mould  for  a  large  bowl.  H.  7.4  cm.  L.  15  cm.  Reg. 
98.819.  Ann.  Rep.,  1898,  p.  89,  no.  54.  Plate  XXVII. 

At  the  top  of  the  main  field,  a  row  of  bosses.  The  decoration  consisted 
of  a  series  of  lions'  skins  displayed,  as  if  they  were  attached  at  top  and 
bottom  to  cords  passing  horizontally  around  the  vase.  One  is  almost  com- 
pletely preserved;  it  shows  the  legs  of  the  skin  tied  in  simple  knots  and 
the  tail  tied  in  an  elaborate  bowknot.  At  the  left,  part  of  a  similar  dis- 
played skin  is  preserved.  Between  the  two  is  a  pointed  staff  with  spirals, 
above  which  is  the  signature  Antiochus. 

For  the  motive  of  the  displayed  lion's  skin,  cf.  Fabroni,  pi.  vi,  9;  Loeb 
Coll.,  nos.  130,  244,  245,  279-304  (two  of  these  with  the  signature  of  P. 
Cornelius,  one  with  that  of  Primus,  a  slave  of  P.  Cornelius),  and  espe- 
cially Loeb  Coll.,  no.  223,  pi.  vii  (signed  by  Certus,  slave  of  Rasinius). 
Similar  motives  appear  on  two  silver  canthari  from  Hildesheim  (Pernice 
and  Winter,  Der  Hildesheimer  Silberfund,  pis.  xi  and  xii).  Antiochus 
was  a  slave  of  P.  Cornelius;  cf.  C.  I.  L.,  xi,  6700,  209,  c,  and  xv,  4987,  d. 

Vases 

114.  Fragment  of  a  small  bowl.  H.  4  cm.  L.  4.6  cm.  Reg.  88.606. 
Robinson,  Cat.  no.  590. 

At  the  top  of  the  main  field,  a  conventional  laurel  leaf  pattern  and  a 
row  of  bosses.  In  the  field,  two  masks  of  bearded  Sileni,  one  framed  by 
a  wreath  of  conventional  leaves,  are  almost  completely  preserved. 

(j)   NATURALISTIC    PLANT   FORMS 

Moulds 

115.  Mould  for  a  large  bowl.  Unbroken.  H.  10.3  cm.  D.  20  cm.  Reg. 
00.314.  Ann.  Rep.,  1900,  p.  84,  no.  3.  Plate  XXII  and  Fig.  2,  p.  12. 

The  surface  is  divided  into  two  fields  by  a  band  of  rosettes,  and  a  similar 

[99  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

band  decorates  the  upper  field  at  the  top.  The  lower  field  is  bordered  at 
the  bottom  by  two  plain  mouldings  and  a  row  of  bosses,  and  below  this 
are  three  other  patterns,  which  run  around  the  mould,  namely,  a  con- 
ventional laurel  leaf  pattern,  a  row  of  bosses,  and  a  plain  moulding.  The 
lower  field  is  occupied  by  a  spray  of  naturalistic  ivy,  with  leaves,  berries, 
and  tendrils  worked  out  with  very  great  care. 

In  the  upper  field,  the  decoration  consists  of  an  elaborate  festoon,  with 
many  supplementary  figures.  The  festoon  was  produced  with  one  small 
stamp,  which  was  impressed  in  the  mould  fifteen  times,  though  one  im- 
pression (evidently  the  last)  did  not  give  the  whole  pattern  owing  to  lack 
of  space.  The  pattern  is  made  up  of  fruits  and  flowers  and  leaves;  the 
quince,  the  acorn,  and  the  pine  cone  can  be  recognized,  the  other  parts  are 
less  distinctly  characterized.  At  the  points  where  the  separate  sections 
met,  a  small  space  was  left  in  every  case,  and  these  spaces  were  filled  by 
small  figures  of  bees  and  birds.  There  are  two  types  of  bees,  one  smaller 
than  the  other,  and  three  types  of  birds. 

Above  the  garland,  at  two  points  almost  exactly  opposite  each  other, 
are  the  inscriptions  Pantagatus  and  Rasin{i),  the  latter  placed  bottom 
up.  Beginning  at  the  right  of  the  inscription  Pantagatus,  the  supplemen- 
tary figures  above  the  garland  are  as  follows:  — 

(a)  Long-tailed  bird  (daw?)  with  neck  outstretched,  in  profile  to  right. 
(6)  Bee  flying  to  left. 

(c)  Daw(?),  same  tj^pe  as  (o). 

(d)  Lizard  to  right. 

(e)  Bee,  same  type  as  (6), 
After  the  inscription  Rasin(i): 
(/)  Daw(.'')  in  profile  to  left. 
(g)  Daw(?),  same  type  as  (a). 

(h)  Bee  flying  to  right,  same  tj'pe  as  (6). 
(i)  Daw(?),  same  type  as  (/). 

Below  the  garland,  directly  below  the  signature  Pantagatus: 
(j)  Small  Cupid  seated  in  profile  to  left. 
Then  to  the  right: 

(k)  Bee  flying  to  right,  same  type  as  (6). 
{I)  Lizard  to  right,  same  type  as  (d). 

[  100] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(m)  Bee  flying  to  right,  same  type  as  (b). 
(n)  Cupid,  same  t5T)e  as  (j), 
(o)  Daw(?),  same  type  as  (a), 
(p)  Lizard  to  left,  same  type  as  (d). 
(q)  Bee  flying  to  right,  same  type  as  (b). 
(r)  Bird  in  profile  to  right  with  head  turned  upwards. 
(s)  Cupid,  same  type  as  (j). 
(t)  Lizard  to  right,  same  type  as  (d). 
(u)  Daw(?),  same  type  as  (a). 
Cf.  the  note  on  no.  116. 

1 1 6.  Mould  for  a  bowl  of  medium  size.  Put  together  from  two  pieces, 
but  only  sUghtly  injured  at  the  edges  of  the  break.  H.  8.6  cm.  D.  16.4 
cm.  Reg.  04.29.  Ann.  Rep.,  1904,  p.  61,  no.  15. 

A  narrow  lower  field  is  set  oflf  by  a  plain  moulding  at  top  and  bottom 
and  decorated  with  a  band  of  large  rosettes.  The  main  field  is  bordered  at 
the  top  by  a  tongue  and  dart  pattern. 

The  main  field  is  divided  into  three  parts  by  small  comic  masks,  each 
framed  in  a  border  of  rose  petals.  On  either  side  of  each  mask  is  a  small 
star,  with  a  broad  fillet  depending  from  it.  The  space  between  the  masks 
is  filled  in  each  case  with  a  naturalistic  garland  of  fruits  and  foliage,  exactly 
similar  to  the  garland  of  no.  115,  but  somewhat  smaller  in  scale.  The 
same  stamp  was  repeated  three  times  in  each  of  the  three  fields,  in  such 
a  way  as  to  leave  small  spaces  between  the  sections.  These  are  filled  by 
diflFerent  combinations  of  small  designs:  a  large  bee,  two  leaves,  and  a 
poppy  head  (in  two  cases) ;  a  large  bee,  two  leaves,  and  three  poppy  heads; 
a  flower,  two  leaves,  and  a  poppy  head;  a  flower  and  two  poppy  heads; 
and  a  flower  and  a  single  poppy  head.  Below  each  of  the  three  garlands 
are  a  lizard  (facing  right)  and  a  small  bee  (flying  to  left),  above  are  other 
small  figures,  less  regularly  arranged.  Beginning  at  the  right  of  the  signa- 
ture Rasin(i)  these  are  in  order:  — 

(a)  Small  Cupid  flying  to  right,  with  arms  extended. 

(6)  Bird  perched  on  garland  facing  left,  but  turning  head  to  preen  raised 
wings. 

(c)  Bird  perched  on  garland,  facing  left,  same  type  as  no.  115  (/). 

[  101  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

(d)  Cupid,  same  as  (a). 

(e)  Bird  perched  on  garland,  facing  right,  same  type  as  no.  115  (a). 
(/)  Bird  preening  wings,  same  as  (6). 

(g)  Cupid,  same  as  (a). 

(h)  Small  bee,  flying  to  left,  same  type  as  no.  115  (b). 

The  signatures,  which  are  in  the  field  above  the  garland,  not  quite  op- 
posite each  other,  are  Rasin(i)  and  Pantagatus. 

Cf.  no.  115  and  Loeb  Coll.,  nos.  305  and  306,  which  have  the  same  sig- 
nature; Fabroni,  pi.  i,  6.  This  sort  of  decoration  is  one  of  the  commonest 
and  one  of  the  most  effective  in  the  repertoire  of  the  Arretine  potters.  It 
has  close  analogies  in  other  work  of  Early  Imperial  times,  such  as  vases 
in  silver  (cf.  Mon.  Piot,  v,  pis.  vii  and  viii  —  from  Bosco  Reale;  Pernice- 
Winter,  Der  Hildesheimer  Silberfund,  pi.  x);  marble  altars  (cf.  Altmann, 
Die  romischen  Grabaltdre  der  Kaiserzeit,  passim);  and  many  kinds  of 
utensils  and  articles  of  furniture.     For  the   inscription   Pantagatus,  cf. 

C.  I.  L.,  XI,  6700,  51,  b;  for  the  inscription  Rasini,  ibid.,  6700,  520,  a. 
The  combination  Pantagatus  Rasini  is  not  recorded  in  the  Corpus,  but  is 
found  on  the  two  moulds  in  the  Loeb  Collection  (cf.  Loeb  Coll.,  nos.  305 
and  306,  pi.  viii). 

117.  Mould  for  a  small  cup.  Unbroken,  but  slightly  chipped.  H.  5  cm. 

D.  10  cm.  Reg.  00.627.  Ann.  Rep.,  1900,  p.  85,  no.  5.  Plate  XXVIL 
The  lower  part  is  undecorated.  Above,  a  garland  runs  around  the  centre. 

The  lower  part  of  this  is  made  up  of  nine  sections;  five  of  these,  composed  of 
naturalistic  fruits  and  flowers,  were  made  with  one  stamp;  four,  composed 
of  two  pairs  of  leaves  and  a  pine  cone,  with  another.  The  upper  part  of 
the  garland  is  made  up  of  alternating  grape  leaves  and  bunches  of  grapes. 
Above  is  a  band  of  flowers  pointing  upwards,  between  two  plain  mouldings. 

118.  Fragment  of  a  mould  for  a  large  bowl.  Put  together  from  two 
pieces.  H.  7.5  cm.  L.  9.3  cm.  Reg.  98.817.  Ann.  Rep.,  1898,  p.  88,  no.  52. 

At  the  top,  a  tongue  pattern  and  a  row  of  bosses.  In  the  main  field,  a 
spray  of  large  oak  leaves,  and  bunches  of  (ivy?)  berries  running  around 
the  vase. 

Cf.  the  note  on  no.  119. 

[  102  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

119.  Fragment  of  a  mould  for  a  bowl  of  medium  size.  H.  6  cm.  L.  7.3 
cm.    Reg.  98.818.  Ayin.  Rep.,  1898,  p.  88,  no.  53.   Platk  XXVIII. 

Below  the  main  field,  a  small  part  of  a  plain  moulding  is  preserved;  at 
the  top,  tongue  pattern  and  row  of  bosses. 

In  the  main  field,  a  spray  made  up  of  large  oak  leaves,  acorns,  and  bunches 
of  (ivy?)  berries  coming  from  the  right  meets  the  end  of  a  similar  spray 
coming  from  the  left.  At  the  point  of  meeting,  a  fillet  is  summarily  indi- 
cated.  Above,  the  signature  C.  Telli. 

Leaves,  acorns,  and  berries  were  all  made  with  the  same  stamps  as 
those  of  no.  118.  Cf.  Loeb  Coll.,  no.  331,  pi.  xxii;  and  for  the  inscription, 
C.  I.  L.,  XI,  6700,  660,  a. 

120.  Fragment  of  a  mould  for  a  large  bowl.  H.  6.3  cm.  L.  8  cm.  Reg. 
98.821.   Ann.  Rep.,  1898,  p.  89,  no.  56. 

Of  the  decoration,  only  a  small  part  of  a  spray  of  grapevine,  with  large 
leaves,  bunches  of  grapes,  and  tendrils,  is  preserved. 

Cf.  Loeb  Coll.,  nos.  318,  319,  pi.  xxi,  and  no.  320,  pi.  xxii;  Holder, 

pi.  XXIV,  11. 

131.  Fragment  of  a  mould  for  a  bowl  of  medium  size.  H.  5.5  cm.  L. 
5.2  cm.   Reg.  03.859. 

The  main  field  is  bordered,  above  and  below,  by  a  row  of  double  discs. 
In  it,  part  of  a  spray  of  ivy  leaves  and  bunches  of  berries  is  preserved. 

Cf.  Inghirami,  Monumenti  Etruschi,  Serie  v,  pi.  I,  2;  Loeb  Coll.,  no.  325, 
pi.  XXII,  and  nos.  326-330  (no.  327  signed  by  P.  Cornelius). 


(k)  CONVENTIONAIiIZED   PLANT   FORMS   AND   OTHER   CONVENTIONAL 

PATTERNS 

Moulds 
132.  Fragment  of  a  mould  for  a  deep  bowl.  H.  10  cm.  L.  11.5  cm.  Reg. 
98.813.  Ann.  Rep.,  1898,  p.  88,  no.  48.  Plate  XXVIII. 

At  the  bottom  of  the  main  field,  a  conventional  laurel  leaf  pattern;  at 
the  top,  a  band  of  large  conventionalized  flowers  (daisies?)  and  a  small  part 
of  a  plain  moulding. 

I  103  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

The  field  was  divided  into  compartments  by  vertical  bands  of  daisies  (?). 
In  each  compartment  was  an  elaborate  ornament,  made  up  of  a  central 
daisy  (the  stamp  only  partially  impressed  in  the  mould,  so  that  only  one 
half  of  the  flower  appears)  with  a  seed  pod  and  a  very  simple  palmette  (re- 
sembling a  fleur-de-lis)  above  and  below  it  and  with  a  pointed  staff  with 
spirals  rising  obliquely  from  it  on  each  side. 

123.  Fragment  of  a  mould  for  a  deep  bowl.  H.  8.5  cm.  L.  6.4  cm. 
Reg.  98.816.  Ann.  Rep.,  1898,  p.  88,  no.  51.  Plate  XXVIII. 

A  lower  and  an  upper  field  are  divided  by  a  band  of  rosettes  between 
pairs  of  plain  mouldings,  and  above  the  upper  field  the  same  arrangement 
of  patterns  is  repeated. 

Of  the  decoration  of  the  lower  field,  only  an  elaborate  knotted  fillet, 
decorated  with  a  small  rosette,  and  small  bits  of  conventional  foliage 
are  preserved.  The  upper  field  has,  near  the  top,  a  pattern  of  alternating 
ribbed  calyx  ornaments  and  small  rosettes  (the  calyx  ornaments  point 
first  to  the  right  and  then  to  the  left).  Below  each  rosette  hangs  a  large 
bell-shaped  flower,  below  each  calyx  ornament  is  a  rosette  in  the  field. 
Between  this  pattern  and  the  mouldings  which  separate  the  upper  and 
lower  fields,  the  signature  Certus  Rasin{i).  ; 

For  Certus  as  slave  of  Rasinius,  cf.  C.  I.  L.,  xi,  6700,  5'25;  and  for  the 
form  of  the  inscription  Rasin(i),  ibid.,  xi,  6700,  520,  a. 

134.  Fragment  of  a  mould  for  a  large  bowl.  H.  6.5  cm.  L.  7.5  cm.  Reg. 
98.820.  Ann.  Rep.,  1898,  p.  89,  no.  55.  Plate  XXVIII. 

The  main  field  was  bordered  below  by  a  band  of  small  rosettes,  above 
by  a  band  of  larger  rosettes.  It  was  decorated  by  a  band  made  up  of  large 
leaves  and  pointed  staffs  with  spirals  to  left,  arranged  in  pairs  and  alter- 
nating in  position.  At  the  right,  the  first  letter  (R)  of  a  signature  (Rasini.'). 

Cf.  Fabroni,  pi.  11, 1  and  pi.  ui,  6;  B.  J.,  xcvi,  1895,  pi.  vi,  60;  Loeb  Coll. 
no.  395,  pi.  XXIII. 

125.  Small  fragment  of  a  mould  for  a  bowl  of  medium  size.    H.  4  cm. 
L.  7.3  cm.  Reg.  98.822.  Ann.  Rep.,  1898,  p.  89,  no.  57. 
At  the  top,  tongue  pattern  and  row  of  bosses.  Below,  a  row  of  double 

[  104  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

bosses  and  in  the  principal  field  part  of  a  large  knotted  fillet  and  a  conven- 
tional garland  design.  Between  the  tongue  pattern  and  the  row  of  double 
bosses,  the  signature  ({^l^- 

The  inscription  should  probably  be  read  Philero(s)  L.  Anni,  although 
the  first  letter  of  the  second  line  is  unclear.  Of  the  Annii,  L.  Annius  is  the 
only  one  whose  name  appears  with  the  two  N's  written  together.  Phileros 
has  not  been  noted  before  as  a  slave  of  L.  Annius,  although  the  name  oc- 
curs with  that  of  C.  Annius  (C.  I.  L.,  xi,  6700,  53). 

136.  Fragment  of  a  mould  for  a  bowl  of  medium  size.  H.  6.7  cm.  L. 
6.2  cm.  Reg.  98.823.  Ann.  Rep.,  1898,  p.  89,  no.  58.  Plate  XXVIII.     i 

At  the  top,  conventional  laurel  leaf  pattern  and  a  row  of  bosses.  In  the 
main  field:  at  right  part  of  a  large  volute  crater  with  ribbed  body  and 
cover,  on  which  perches  a  bird  facing  right;  at  left  part  of  a  pattern  of 
acanthus  leaves,  rosettes,  and  palmettes,  connected  by  curving  stems. 

For  the  crater  and  the  bird,  cf .  Loeb.  Coll.,  no.  220,  pi.  xx. 

127.  Fragment  of  a  mould  for  a  straight-sided  cup.  H.  4.5  cm.  L.  8.5  cm. 
Reg.  98.824.  Ann.  Rep.,  1898,  p.  89,  no.  59. 

At  the  bottom,  a  band  of  rosettes  and  a  conventional  laurel  leaf  pattern. 
Above,  part  of  a  simple  vertical  moulding  with  a  rosette  at  the  lower  end, 
which  served  to  divide  the  whole  into  smaller  fields.  In  the  two  fields 
which  are  partially  preserved,  parts  of  a  design  of  acanthus  foliage,  ro- 
settes, and  bell-shaped  flowers,  rising  from  inverted  acanthus  leaves. 

Vases 

138.  Deep,  nearly  straight-sided  bowl.  Put  together  from  seventeen 
pieces,  small  parts  restored.  H.  11.3  cm.  D.  15.8  cm.  Reg.  97.379.  Ann. 
Rep.,  1897,  p.  31,  no.  26.  Plate  I. 

At  the  bottom  of  the  single  wide  field,  conventional  laurel  leaf  pattern 
and  two  plain  mouldings;  at  the  top,  conventional  laurel  leaf  pattern  and 
egg  and  dart.    Plain  rim,  with  slightly  flaring  lip. 

The  field  is  filled  with  complicated  conventional  patterns.  The  arrange- 
ment of  these  was  determined  by  means  of  a  plain  moulding  which  runs 
around  the  vase  a  little  above  the  centre  of  the  field.  Fcom  this  sixteen  flat 

[  105  1 


A  CATALOGUE  OF  ARRETINE  POTTERY 

mouldings,  slightly  ribbed,  extend  obliquely  into  the  lower  part  of  the  field, 
forming  eight  zigzags.  The  principal  groups  of  patterns  were  arranged  at 
the  eight  points  where  the  obhque  mouldings  meet  the  horizontal  moulding. 
Each  consists  of  a  large  palmette  topped  by  a  pointed  flower  and  flanked  by 
pointed  staffs  (with  rings  on  the  lower  portion  and  herring-bone  patterns 
on  the  upper  parts),  which  rise  obliquely  into  the  field;  from  the  base  of 
the  palmette  a  smaller  palmette  extends  horizontally  into  the  field  on 
each  side,  covering  the  horizontal  moulding,  and  a  conventional  leaf  hangs 
down  between  the  obUque  mouldings;  below  the  leaf,  in  each  case,  is  a 
rosette.  Where  the  oblique  mouldings  meet  near  the  bottom  of  the  field, 
their  points  of  juncture  are  masked  in  each  case  by  a  crown  of  small  leaves, 
from  which  ribbed  pointed  staffs  with  rings  rise  obliquely  into  the  field. 
Above  rises  a  palmette,  with  a  "seed-pod"  ornament  at  its  centre  and  a 
hatched  ring  above  its  point.  Above,  in  the  field:  in  six  cases  a  pelta- 
shaped  ornament  with  a  cross  at  the  centre;  in  two  cases  (at  opposite 
points)  the  signatures  Bargathi  and  M.  Perenn{i),  each  inside  a  simple, 
notched  border. 

Cf.  for  the  inscription  M.  Perennii),  C.  I.  L.,  xi,  6700,  435,  xx;  and  for 
the  inscription  Bargathi,  ibid.,  6700,  451,  n  (both  of  these  lack  the  decora- 
tive borders  of  the  Boston  example). 

139.  Fragment  of  a  large  bowl.  H.  7  cm.  L.  6.8  cm.  Reg.  98.814.  Ann. 
Rep.,  1898,  p.  88,  no.  49. 

In  the  main  field,  the  upper  parts  of  two  elaborate  conventional  orna- 
ments; the  preserved  portions  show  a  flower,  and  above  it  a  palmette 
of  the  fleur-de-hs  type,  with  a  pointed  staff  with  spirals  rising  obliquely 
into  the  field  on  either  side.  Between  these  is  a  vertical  band  of  bosses 
arranged  in  circles,  and  above,  at  the  top  of  the  field,  a  band  of  rosettes 
and  two  plain  mouldings.  The  rim  is  plain,  the  lip  flares  slightly  outwards. 

130.  Fragment  of  a  bowl  of  medium  size,  including  part  of  foot;  restored 
in  plaster  so  as  to  give  some  idea  of  the  original  shape.  The  foot  is  com- 
paratively tall,  with  a  broad  convex  moulding,  bordered  above  and  below 
by  a  much  smaller  moulding,  at  the  centre  of  the  stem.  H.  (as  restored) 
8.3  cm.  D.  (as  restored)  14.6  cm.   Reg.  88.588.  Robinson,  Cat.  no.  580. 

[  106  1 


A  CATALOGUE  OF  ARRETINE  POTTERY 

At  the  bottom  of  the  field  three  simple  mouldings.  Above  them  is  a 
band  of  alternating  large  and  small  conventionalized  leaves  (apparently 
acanthus  and  ivy).  From  every  other  ivy  leaf  rose  a  pattern  made  up 
(from  bottom  to  top)  of  a  seed-pod  on  a  short  stem,  a  small  flower,  and  a 
large,  bell-shaped  flower,  on  the  edge  of  which  was  perched  a  bird.  One 
of  these  patterns  is  preserved  completely.  The  spaces  between  these  pat- 
terns were  filled  with  scrolls  which  rose  from  the  acanthus  leaves.  These 
patterns  were  arranged  symmetrically  in  pairs,  and  consist  of  large  curving 
stems,  to  which  were  attached  small  flowers  on  curving  stems,  ears  of 
wheat,  and  possibly  other  objects.  Between  each  pair  of  large  stems,  near 
the  bottom  of  the  field,  is  a  rosette,  so  placed  that  it  touches  the  tip  of  one 
of  the  small  ivy  leaves. 

131.  Fragment  of  a  large  bowl.  H.  6.1  cm.  L.  7.5  cm. 

The  main  field  was  divided  into  two  parts  by  a  band  of  rosettes  which 
passed  about  the  centre  of  the  vase.  The  space  below  was  occupied  by 
alternating  rosettes  and  palmettes  placed  on  their  sides,  the  palmettes 
pointing  alternately  to  right  and  to  left.  Of  the  decoration  in  the  space 
above  the  central  band,  only  part  of  a  four-petalled  rose,  naturalistically 
treated,  is  preserved. 

132.  Fragment  of  a  large  bowl,  including  part  of  foot.  H.  14.5  cm. 
L.  14.3  cm.  Reg.  88.593.    Robinson,  Cat.  no.  605.  Plate  XXX. 

At  the  bottom  of  the  field,  a  row  of  bosses,  carelessly  spaced;  at  the 
top,  a  similar  row,  partly  destroyed  by  the  attachment  of  the  rim,  which 
has  a  broad  convex  moulding,  slightly  ribbed,  at  the  bottom. 

The  field  is  filled  by  a  repeated  pattern  made  up  of  conventionalized 
leaves  and  pointed  staffs  with  spirals.  At  the  bottom  is  a  band  of  alter- 
nating leaves  and  pointed  staffs.  Above  these  is  a  second  band  in  which 
the  relations  are  reversed,  each  pointed  staff  being  attached  to  a  leaf  of  the 
lower  band,  and  each  leaf  to  a  pointed  staff";  and  above  these,  in  a  third 
band,  a  leaf  is  attached  to  each  pointed  staff  of  the  second  band,  and  to 
each  leaf  of  the  second  band  a  group  of  three-pointed  staffs. 

Cf.  B.  M.  Cat.  R.  P.,  L  156  ( =  fig.  31,  p.  41). 

[  107  1 


A  CATALOGUE  OF  ARRETINE  POTTERY 

133.  Fragment  of  a  large  bowl.  H.  9.8  cm.  L.  12.5  cm.  Reg.  88.591. 
Robinson,  Cat.  no.  602. 

At  bottom  of  field,  plain  moulding;  at  top,  egg  and  dart  and  a  row  of 
bosses  on  a  plain  moulding.  Part  of  the  rim  with  a  moulding  at  the 
base  is  preserved. 

The  field  is  filled  with  large  ornaments  shaped  like  interrogation  points; 
each  of  these  has  at  its  base  a  small  rosette  and  a  pointed  staff  with  spirals, 
which  rises  into  the  field.  Near  the  top  of  the  field,  between  the  "interro- 
gation points,"  in  one  case,  the  letters  EREN  of  the  signature  of  M.  Peren- 
nius;  in  the  next,  Bargat(es),  inside  a  notched  border;  in  the  next,  two 
small  rings,  one  inside  the  other. 

Cf.  B.  J.,  xcvi,  1895,  pi.  VI,  75. 

The  form  of  the  inscription  Bargat(es)  is  the  same  as  that  of  C.  I.  L., 
XV,  5422,  d,  except  for  the  decorative  border.  The  exact  form  of  the  sig- 
nature of  Perennius  cannot  be  determined. 

134.  Fragment  of  a  cup,  including  part  of  handle.  Restored  in  plaster, 
so  as  to  suggest  the  shape  of  the  original.  H.  7  cm.  D.  (as  restored)  9.5  cm. 
Reg.  88.589.  Robinson,  Cat.  no.  581. 

Of  the  handle,  the  crescent  by  which  it  was  attached  to  the  plain  upper 
portion  of  the  cup  is  preserved,  as  well  as  a  rosette  which  covered  the 
point  of  attachment  to  the  body.  The  handle  has  been  restored  (probably 
correctly)  as  a  simple  loop. 

There  is  only  one  decorated  field.  This  is  bordered  at  the  top  by  an  egg 
and  dart  pattern  and  a  row  of  small  bosses.  The  lower  part  of  the  field  is 
occupied  by  a  band  of  alternating  "seed"  ornaments  and  pointed  staffs 
with  spirals,  the  upper  part  by  a  band  made  up  of  pairs  of  concentric 
rings.  The  latter  is  broken  at  one  point  by  the  signature  P.  Cornel{i). 

Cf.  Loeh  Coll.,  no.  423,  pi.  xxiii;  and  for  the  signature,  C.  /.  i.,  xi, 
6700,  204,  i. 


CLASS  III 

PLAIN   VASES 

135.  Funnel-shaped  cup,  with  vertical  rim.  Put  together  from  four 
fragments;  three  small  sections  supplied  in  plaster.  H.  6.6  cm.  D.  12.2 
cm.    Reg.  88.583.   Robinson,  Cat.  no.  582. 

The  only  decoration  consists  of  two  imitation  handles  placed  on  the  rim 
at  nearly  opposite  points.  Each  has  the  form  of  a  pair  of  connected 
spirals,  resembling  a  pair  of  Ionic  volutes,  placed  bottom  up.  On  the 
bottom,  inside,  is  the  signature  (impressed  with  a  stamp  in  the  shape  of  the 
sole  of  a  foot)  C.  Vih{i). 

For  the  inscription,  cf.  C.  I.  L.,  xi,  6700,  773,  e.  The  reading  C.  Vib(i) 
is  more  probable  than  C.  Vib(ieni),  although  the  latter  is  possible;  see 
Introduction,  pp.  21  /. 

136.  Small  funnel-shaped  cup  with  vertical  rim.  Considerably  restored 
in  plaster.  H.  3.8  cm.  D.  6.8  cm.  Reg.  88.585.  Robinson,  Cat.  no.  583. 

About  the  rim,  two  plain  mouldings.  Inside,  on  the  bottom,  the  in- 
scription: (i^^/J- 

Cf .  Introduction,  p.  22. 


[  109  1 


MISCELLANEOUS 

HANDLES   AND   SEPARATELY   MODELLED   RELIEFS 

Moulds 

137.  Mould  for  a  large  handle  of  the  usual  "tongue  and  crescent" 
form.  Slightly  chipped,  but  unbroken.  L.  11.4  cm.  W.  8.5  cm.  Reg. 
98.834.  Ann.  Rep.,  1898,  p.  91,  no.  69.  Plate  XXVIII. 

The  tongue  is  decorated  with  a  large  club,  worked  out  in  considerable 
detail.  To  the  back  of  the  crescent  are  attached  three  pairs  of  volutes, 
diminishing  in  size  from  the  tongue  to  the  points  of  the  crescent. 

Cf.  Loeb  Coll.,  no.  473,  pi.  xiv;  and  for  similar  handles  from  silver  vases, 
Mon.  Piot,  V,  pi.  xxni,  3  (from  Bosco  Reale);  Pernice- Winter,  Der  Hildes- 
heimer  Silberfund,  p.  32,  fig.  11,  and  pis.  xxi,  xliii,  xliv,  xlv;  Schreiber, 
Alexandrinische  Toreutik,  pp.  312  ff.  The  moulds  which  Schreiber  pub- 
lishes, pis.  i-iii,  all  show  similar  forms. 

138.  Mould  for  a  large  figure  of  Dionysus  in  high  relief.  Put  together  from 
two  pieces,  one  small  piece  missing.  L.  12  cm.  W.  5  cm.  H.  of  figure, 
10.5  cm.  Reg.  98.832;  Ann.  Rep.,  1898,  p.  91,  no.  67.  Plate  XXVIII. 

The  god  is  seated  to  left,  with  left  foot  advanced  and  right  foot  drawn 
back;  he  turns  toward  the  right,  so  that  the  body  is  in  three  quarters  view 
and  the  head  almost  in  front  view.  He  wears  a  long  robe,  which  covers 
his  legs,  passes  over  his  right  shoulder  and  is  wound  about  his  left  fore- 
arm, and  sandals,  with  straps  carefully  indicated.  His  right  arm  is  thrown 
over  his  head.  In  his  hair  is  a  wreath  of  ivy  leaves.  The  nature  of  his  seat 
is  uncertain,  but  it  seems  to  be  a  rock  with  a  robe  thrown  over  it,  rather 
than  a  throne.  In  front  of  the  seat  is  a  panther,  seated  to  right,  but  turn- 
ing his  head  and  gazing  up  at  the  god.  All  details  are  rendered  with  great 
care,  especially  the  anatomy  of  the  nude  torso,  the  hair,  and  the  large 
folds  of  the  robe. 

The  relief  of  this  figure  is  much  higher  than  that  of  the  ordinary  Arre- 
tine  vases.    The  purpose  for  which  the  mould  was  intended  is  diflScult 

[  110] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

to  determine,  unless  it  was  used  for  forming  figures  for  the  central  medal- 
lions of  paterae,  such  as  have  been  preserved  in  silver  (cf.  Mon.  Plot,  v, 
pis.  I  and  II ;  Pernice- Winter,  Der  Hildesheimer  Silberfund,  pis.  i-v;  Per- 
nice,  "  Hellenistische  Silbergefasse,"  58tes  Winckelmannsprogram,  Berlin, 
1898),  a  form  of  which  no  examples  have  yet  been  found  among  the  pro- 
ducts of  the  Arret  ine  potteries.  As  the  mould  is  said  to  have  been  found 
at  Arezzo,  and  the  clay  is  the  same  as  that  of  other  Arretine  moulds,  it  is 
included  here. 

Vases 

139.  Fragment  of  the  rim  of  a  bowl  with  handle  attached.  L.  4.3  cm. 
W.  7  cm.  Reg.  98.835.  Ann.  Rep.,  1898,  p.  91,  no.  70.  Plate  XXX. 

The  handle  is  of  the  "tongue  and  crescent"  shape,  but  the  tongue 
broadens  out  at  the  end  into  two  horn-like  projections.  The  crescent  car- 
ries two  pairs  of  volutes  on  each  side  (the  outer  ones  smaller  than  the  inner 
ones),  the  tongue  is  ornamented  with  a  club  in  relief.  Around  the  outer 
edge  of  the  whole  handle  rims  a  simple  moulding. 

Cf.  Loeb  Coll.,  no.  475,  pi.  xix;  and  the  note  on  no.  137. 

140.  Fragment  of  the  lower  part  of  a  bowl  with  nearly  straight  sides. 
H.  6  cm.  L.  6.2  cm.  Reg.  88.601.  Plate  XXX. 

The  only  part  of  the  decoration  which  is  preserved  consists  of  a  group 
representing  a  lion  pulling  down  a  horse.  The  horse  is  in  profile  to  right, 
with  head  thrown  up  and  knees  bent  under  the  weight  of  the  lion,  which 
has  leaped  on  his  back.  The  lion  is  in  profile  to  right  except  the  head, 
which  is  in  front  view. 

141.  Fragment  of  the  upper  part  of  a  vase.  H.  7  cm.  L.  6.4  cm.  Reg. 
98.827.  Ann.  Rep.,  1898,  p.  89,  no.  62.  Plate  XXX. 

Of  the  body  of  the  vase,  only  a  small  portion  of  the  upper  part  is  pre- 
served, decorated  with  an  egg  and  dart  and  a  row  of  bosses  (the  latter 
largely  destroyed  by  the  attachment  of  the  rim).  At  the  base  of  the  rim 
is  a  notched  moulding.  Above  this  is  a  triangular  ornament  made  up  of 
five  converging  ribs,  flanked  on  either  side  by  the  fore  part  of  a  prancing 
horse,  and  surmounted  by  a  large  rosette. 

[  111  ] 


A  CATALOGUE  OF  ARRETINE  POTTERY 

Cf.  Loeb  Coll.,  no.  243,  pi.  xiii;  no.  274,  pi.  xxi;  and  no.  275.  Nos.  274 
and  275  are  signed  by  P.  Cornelius. 

143.  Small  fragment  of  the  rim  of  a  large  bowl.  H.  4  cm.  L.  4.3  cm. 
Reg.  98.811.   Ann.  Rep.,  1898,  p.  87,  no.  46.  Plate  XXX. 

The  only  part  of  the  decoration  which  is  preserved  is  a  carefully  modelled 
comic  mask  with  a  wreath  of  ivy  berries  and  leaves  across  the  forehead. 
The  top  of  the  rim  has  the  form  of  a  concave  moulding  between  two  con- 
vex, slightly  notched  mouldings. 

Cf.  Loeb  Coll.,  no.  501,  pi.  xix. 

STAMP  OR  PUNCHEON 

143.  Stamp  for  making  a  decorative  pattern  in  the  form  of  a  hoop  end- 
ing in  volutes.  H.  4.1  cm.  L.  7  cm.  W.  5.2  cm.  Reg.  98.836.  Ann.  Rep., 
1898,  p.  91,  no.  71.  Figure  1,  p.  11. 

A  pattern  very  similar  to  this  appears  on  a  mould  in  the  Loeb  Collection 
(Loeb  Coll.,  no.  160,  pi.  xv). 


PLATES 


Plate  I 


Plate  II 


:!!! 


Plate  III 


Plate  IV 


Plate  V 


Plate  VI 


:! 
22 


Plate  VII 


Pl.\te  Mil 


Plate  IX 


21 


Plate  X 


26 
29 


Pl.\te  XI 


31 
32 


Plate  XII 


34 


Plate  XIII 


34 


Plate  XIV 


66 


Plate  XV 


«(! 


Plate  XVI 


07 

(i8 


Plate  XVII 


76 


Plate  XVIII 


88 
89 


Platk  XIX 


91 
98 


Plate  XX 


99 
104 


Pl.\te  XXI 


102 


Plate  XXH 


111 

115 


Pl.'Vte  XXIII 


4 
11 
13 


7 

14 
15 


Plate  XXIV 


10 
20 


17 
37 

27 


Plate  XXV 


Plate  XXVI 


77 
79 


61 


78 
80 


Plate  XXVII 


81 


815 
108 


82 


it:! 

li:i 


117 


lOU 


Plate  XXVIII 


124 


110 

la? 


123 


122 
138 


12G 


Plate  XXIX 


19 

04 

18 

86 
G 

56 

51 

63 

65 

5 

62 

Plvte  XXX 


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